YOUR FREE GUIDE TO THE NYC JAZZ SCENENOVEMBER 2022—ISSUE 247

NYCJAZZRECORD.COM

KEN
PEPLOWSKI
IN THE MOMENT

M
A
I
R
O
M
IN ME

H
A
O
R
PHA ERSSAND

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

NOVEMBER 2022—ISSUE 247
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : COLIN STETSON

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : LEO GENOVESE

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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

ON THE COVER : KEN PEPLOWSKIENCORE : YUKO FUJIYAMALEST WE FORGET : PERCY FRANCELABEL SPOTLIGHT : CONFRONTVOXNEWS
OBITUARIESFESTIVAL REPORTIN MEMORIAM : PHAROAH SANDERSALBUM REVIEWSEVENT CALENDARCLUB DIRECTORY

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by kyle oleksiukby george grellaby jim motavalli
by kurt gottschalkby daniel gould
by wilbur mackenzie
by suzanne lorge
by andrey henkin

Contributing Writers
Daniel Gould, Jason Gross,George Kanzler, Wilbur MacKenzie,
Monique Ngozi Nri, Kyle Oleksiuk
Contributing Photographers
Eduardo Dolengiewich, Jonathan Durand,
Christopher Lee, Alan Nahigian,Tomas Ovalle, John Pietaro,
Robert I. Sutherland-Cohen

Jazz is as varied as those who play it. While it easy to assume a static set of influences,different tendrils take root and generate a rich and diverse forest. Saxophonist/clarinetist
Ken Peplowski (On The Cover), who plays Birdland this month, came out of the Tommy
Dorsey Band and Mel Tormé before establishing his long career as a leader. Reedplayer
Colin Stetson (Interview), performing solo at National Sawdust, is an avid fan of bothheavy metal and Stevie Wonder, obvious to anyone who has heard his grand and intensework. Pianist Leo Genovese (Artist Feature), celebrating the release of a new 577 Records
album at Nublu 151, grew up on pop, rock and fusion in his native Argentina. Japanesepianist Yuko Fujiyama (Encore), debuting as an event producer at Roulette for two nights,
had her life changed by a chance encounter with Cecil Taylor’s music. And saxophonist
Percy France (Lest We Forget), absorbed classic jazz so thoroughly as to intimidate hischildhood friend Sonny Rollins.

nycjazzrecord.com
On The Cover: Ken Peplowski (photo courtesy of the artist)
Corrections: In last month’s album reviews, the correct personnel for Igor Lumpert’s album is
Greg Ward and Caleb Curtis (alto saxophones), Peter Evans (trumpet), John Ellis (bass clarinet),
Jeff Miles (guitar), Chris Tordini and Kenny Grohowski (drums).
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

THE SOUND OF SMOKE

www.SmokeSessionsRecords.com
www.Facebook.com/smokesessionsrecords
smokesessionsrecords.bandcamp.com© 2022 Smoke Sessions Records

NEW YORK @ NIGHT
As part of its 14th edition, Ilhan Ersahin’s Nublu Jazz Anyone familiar with a Wynton Marsalis composition
Fest staged a stimulating triple-header (Oct. 12th):
pianist Kevin Hays and drummer Bill Stewart’s duo;
drummer Dan Weiss Trio with alto saxophonist MiguelZenón and bassist Yasushi Nakamura; capped by two
post-midnight sets from Ersahin (Rhodes/tenor
saxophone), bassist Trevor Dunn and drummer Kenny
Wollesen. Hays began with loud, distorted trills, heavy
tremolo and pecking chords, taking the initiative on aseries of improvised episodes, alluding to Gene dePaul-Patricia Johnston-Don Raye’s “I’ll Remember
April” and covering Thelonious Monk’s “Ask Me
Now”, until Stewart’s irrepressible pulse, permuted inelegantly unusual ways, started to steal the scenes.
Introducing the set with “We’ll see what happens…see
you at the end”, Weiss ushered in a string of jazzstandards: Nat King Cole’s “Stay as Sweet as You Are”,
Charlie Parker ’s “Perhaps” and “Koko”, Oscar
Pettiford’s “Tricotism”, Herbie Hancock’s “Sorcerer”,
Wayne Shorter ’s “Lost” and Bobby Timmons’ “DatDere”. The X factor manifested in Zenón’s imagination:
extended inventive solos and soft counterlines behind
Nakamura’s ebullient solos and in Weiss’ highly
abstracted drum episodes, where he played around,
not on, the beat. Final sets saw Wollesen and Dunnloosely locked into tensile-strength grooves—a mix ofhouse, funk and ???—Ersahin dappling in colorfulchords or ruminative horn lines, the crowd a bit
thinner, the mood a bit thicker.
—Tom Greenland

AUBREY JOHNSON & RANDY INGRAM
PLAY FAVORITESSSC 1683 / AVAILABLE 11/4//22

CHRISTOPHER LEE FOR JAZZ AT LINCOLN CENTER

lay Favorites is a gorgeous portrait of Aubrey
Johnson and Randy Ingram’s deep and uniquemusical partnership. In challenging themselvesto scale back from their usual roles as composers andbandleaders they’ve created a record that is resonant,distinctive, and profoundly honest.

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

P

PLAYING @ MEZZROWNOVEMBER 17, 2022

knows he builds on the Duke Ellington ethic, very
evident in the US premiere of The Shanghai Suite at
Rose Theater (Oct. 1st), which first celebrated theopening of Jazz at Lincoln Center Shanghai in March
2019. The piece hit a homer out of the park, each of its
nine movements a separate jewel in its crown. The
Shanghai Suite delves into the city’s mythology,
folklore, cuisine and architecture, employing what
Ellington called a “tone parallel”. Marsalis largely
built on pentatonic scales used in China, but not somuch in the West, most discernible in “White Yulan—First Flower of Spring: Yulan Magnolia—Soul of theSouth”. Here, as with most of the suite, among
generally creative ideas, the mantle fell to the rhythm
section of the Jazz at Lincoln Center Orchestra for riffs
on exotic sounds, with drummer Obed Calvaire most
responsible for creating an Eastern tone and mood.
“Hot Pot” featured Marcus Printup’s clarion trumpet
with atmospheric high notes calling up a strutting
processional with elements such as tambourine solos
and the band clapping out rhythms. The opener,“Swinging on the Bund”, set a tone of busy bustle,
bookended in the closer, “The Shanghai Skyline”,
a big-finish movement with high energy. Guest
clarinetist Ye Huang offered refined playing on themost symphonic movement, “The Five Elements”. The
sum total of The Shanghai Suite was kind of Ellingtonian,but still all firmly Marsalis.
—Marilyn Lester

Dan Weiss @ Nublu 151

Ye Huang & Jazz at Lincoln Center Orchestra @ Rose Theater

Bassist John Patitucci’s Electric Guitar Quartet (with F or bebop icons Charlie Parker (Bird) and John Birks

JASON YEAGERUNSTUCK IN TIME
THE KURT VONNEGUT SUITEA

SSC 1672 / AVAILABLE 11/11//22

uthor Kurt Vonnegut once speculated
about another potential career. “What I
would really like to have been, given a
perfect world, is a jazz pianist,” Vonnegut said. “Imean jazz. I don’t mean rock and roll. I mean thenever-the-same-twice music the American black
people gave the world.”

www.sunnysiderecords.com

Steve Cardenas and Adam Rogers, drummer NateSmith) was a stageful of smiles at The Jazz Gallery(Oct. 14th), relishing its collective chemistry after along, COVID-induced hiatus. The core ingredients ofthat chemistry—blues, gospel, R&B and funk—added
up to a deeply soulful sound. The early set started
with a hard-swinging cover of Thelonious Monk’s“Ba-lue Bolivar Ba-lues-are”, the guitarists, as theywould all night, ‘sparring’ in friendly fashion, Rogers
with a piercing Fender Stratocaster tone, jabbing
strident Albert King-esque blues phrases and fast,
byzantine alt-bop runs, Cardenas with a mellower
Gibson semi-hollowbody sound, equally bluesy,
displaying immaculate phrasing and taste. Patitucci
often soloed last (six-string hollowbody or four-string
electric), earning audible feedback for his wizardly
chops, imaginative lines and heartfelt delivery. The set
continued with Patitucci’s “Band of Brothers”, Monk’s“Trinkle Tinkle”, Bobby Womack’s “I’m in Love” andanother original, “Ides of March”, featuring Smith’sshow-stopping style: deep pocket, artful exchanges,
prolonged dramatic pauses. The second set was louder,even more energetic: covers of Stevie Wonder ’s“Higher Ground”, Mavis Staples’ “Eyes on the Prize”
and three originals—“The Watchman”, “Our Story”(ballads for Wayne Shorter and Patitucci’s wife Sachi,
respectively) and “Jive Little Rulebook”—the quartet’schemical combustion now at max heat.
(TG)

4 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

Gillespie (Diz), any occasion is cause for celebration.
At Smoke (Oct. 14th), Bria Skonberg (trumpet),Vincent Herring (alto saxophone), Geoffrey Keezer(piano), Yasushi Nakamura (bass) and Kenny
Washington (drums), did just that, with Bird and Diz,
so deep in the groove the massive musical furrow theycreated was nothing short of magnificent. All hands
made definitive statements with Gillespie’s glorious“A Night in Tunisia”, throwing down the gauntlet to
excellence. A subhead to Bird and Diz could well read
“Kenny Washington unleashed”. Throughout, he was
fully present, laying down explosive, innovative
improvs, favoring the snare and often thus reminiscentof a marching band drumline. Nakamura, one of themost soulful bassists in jazz, handled the upright as
if a giant guitar, creating highly melodic riffs, notablein his solo opener for “Tin Tin Deo” (Chano Pozo-Gil
Fuller). Tremendously gifted Keezer shone in the
spotlight (with Nakamura and Washington supporting)playing Parker, underscoring the power of the trio
when in expert hands. Skonberg, also a vocalist, witha smoky Julie London-type tone, gently swung to a
Diz repertoire staple, “Exactly Like You” (Jimmy
McHugh, Dorothy Fields), with Herring supplying a
hard-driving line. Gillespie was an essentially melodic
composer within the bebop ethos. In Bird and Diz thequintet formed a perfect combo to do these masters
consummate justice. 			
(ML)

A packed SONY Hall greeted Milton Nascimento

411 Kent, possibly the hippest new music venue inwith a roaring ovation as the legendary Brazilian
vocalist was slowly escorted to his center stage seat,raucously chanting “Bituca, Bituca”, the loving
sobriquet by which he is known. The show (Oct. 11th)
got started with percussionist Ronaldo Silva anddrummer Lincoln Cheib pounding out the samba
rhythms of “Tambores de Minas”. Strapping on a
bandoneon Nascimento then played an intro to his“Ponta de Areia” and gently sang the lyric to the songthat first brought his talent to the attention of the jazz
world via Wayne Shorter ’s 1974 Native Dancer album.
The band, completed by vocalist-guitarist Zé Ibarra(who opened the evening solo), saxophonist-flutist
Widor Santiago, pianist Ademir Fox, Jr., guitarist
Wilson Lopes and bassist Frederico Heliodoro thenjoined in, accompanying the singer for the remainderof the two-hour-long set. Nascimento regaled his
adoring fans with more than two dozen compositions
from his iconic songbook, which plumbed the depths
of emotion, singing of joy, sorrow, love and hope, often
as a metaphor for the search for social justice. Someof the many high points were renditions of “Cancão doSal” and “Vera Cruz” (both covered by Stanley
Turrentine on his 1971 Salt Song album) and “Para
Lennon e McCartney”, “Nada Será Como Antes” and“Maria Maria” (all with the crowd singing along). The
show, a part of what is billed as The Final Tour, ended
bittersweetly with “Travessia”.
—Russ Musto

Brooklyn—no mean feat—hosted a three-day Ictus
Records Festival as part of the Shift series, celebrating
both the label and founder percussionist Andrea
Centazzo. Justifying its slogan “the creative label for
creative music”, Centazzo and co-curator guitarist
Chris Cochrane presented a series of ever-evolving
ensembles spilling over the soundscape. On the initial
day of the fest (Oct. 6th), the first grouping consistedof Cochrane and Centazzo (on a fascinating doublebass drum kit of tars, cymbals and a MalletKat), Sam
Newsome and Michael Foster (soprano saxophones)
and Dafna Naphtali (electronics and voice). Centazzo’s
timp mallet-driven kit easily blended with Cochrane’s
low-end restless commentary, leading toward Foster ’s
tonality-twisted horn, becoming one with Naphtali’s
laptop sound drippings. Not to be outdone, Newsome
layered atop the growing dynamic, casting a gorgeous
ostinato on which he and Foster fed in a chase chorus.
Cochrane’s snarl, born of years playing no wavebirthed outsider rock as much as free improv, appeared
to levitate the room while saxophonists exchanged
mouthpieces for rubber tubes and both MalletKat anddigitized vocals echoed the wonderment. And this was
only the first piece! Later the magic further blossomedwith the addition of free jazz vet Stephen Haynes(cornet soaring in a call to arms), as well as violist
Jessica Pavone, bassist Jeff Schwartz and guitarists
Wendy Eisenberg and Shahzad Ismaily. —John Pietaro

W H AT ’ S N E W S
Kenny G’s former Seattle-area 4.3-acre waterfront
estate, which includes 327 feet of shoreline, four
structures, a pool, tennis court and a dock with room
for a seaplane and a 150-foot yacht, recently listed for$85 Million.
Winners of the MacArthur “Genius Grant” havebeen announced and include electronicist Ikue Moriand cellist Tomeka Reid. For more information, visit
macfound.org.
The five finalists of the 11th Annual Sarah VaughanInternational Jazz Vocal Competition have beenannounced: Kristin Lash of Bratislava, Slovakia; Lucía
Gutiérrez Rebolloso of Mexico; Allan Harris of
Brooklyn, NY; Ekep Nkwelle of Washington, DC; andLucy Yeghiazaryan of Armavir, Armenia. The
competition takes place at New Jersey Performing
Arts Center on Nov. 20th, judged by Regina Carter,
Christian McBride, T.S. Monk, Maria Schneider, and
WBGO Radio personality Pat Prescott. For more
information, visit sarahvaughancompetition.com.
Zürcher Gallery will present The Art of Counterpoint,with works by Marion Brown, Bill Dixon, Douglas R.
Ewart, Ted Joans, Oliver Lake, Matana Roberts,
Cécile McLorin Salvant and Wadada Leo Smith, from
Nov. 10th-Jan. 10th, 2023. For more information, visit
galeriezurcher.com.

JOHN PIETARO

ALAN NAHIGIAN

Michiko Studios, the midtown institution, is being
forced out of their location after 33 years by the end of
this month. The family-run business has established a
GoFundMe campaign to raise the necessary funds forrelocation. To contribute, visit gofund.me/433c9dd4.
Also available are limited-edition tote bags at
customink.com/fundraising/save-michiko.

Milton Nascimento @ Sony Hall

Andrea Centazzo & Michael Foster @ 411 Kent

G enre-bridging pianist Robert Glasper kicked off his

East Village arts space WhiteBox rapidly filled (Oct.

annual month-long Blue Note residency delving into
his jazz roots with a three-night “Acoustic Tribute to
Herbie Hancock” by his sextet of trumpeter Nicholas
Payton, tenor saxophonist-bass clarinetist John Ellis,
guitarist Mike Moreno, bassist Vicente Archer anddrummer Justin Faulkner. Taking his place at the grandpiano Glasper lauded Hancock, proclaiming, “Herbie
is one of our jazz heroes. He is a trailblazer, the reason
I’m able to do what I do.” The band got their secondnight (Oct. 5th) second set started stretching out on
Hancock’s Miles Davis-era classic “Sorcerer”, Payton
leading things off, first playing with deliberate
precision before blasting off into the stratosphere.
Glasper followed with a steadily developing dynamic
solo, which was cerebral, soulful and ultimately hardswinging. Ellis was up next, playing dark brooding
tenor, after which Moreno took a funky turn before
Faulkner finished up with a potent outing. Solo drums
opened up a vamping version of “Watch It”, with
Payton’s quoting Sonny Rollins’ “East Broadway
Rundown”, moving the band into a short version of“Chameleon”. Ellis on bass clarinet was out front for“Riot”, on which Glasper showed off his virtuosic
chops with a rhythmically commanding solo garnering
shouts of approval from the audience. Things
mellowed for “I Have A Dream”, Glasper playing withstirring majesty, before the band concluded with anenergized version of “Eye Of The Hurricane”.
(RM)10th) as word spread that Elliott Sharp and Eric
Mingus would be in to celebrate their newly released
duo recording Songs from a Rogue State (zOaR). While
simply not to be missed and sure to be deemed among
the best releases of 2022 (you heard it here first), thelive set burrowed into free, truly unleashedimprovisation while losing nothing of the album’s
core essence. The veteran guitarist carried his array ofeffects—some advanced, others downright analog—
while Mingus was armed only with his expansive,
stirring voice. The two were paired with trombonist
Steve Swell, who holds the title Beacon of Low Brassin this writer ’s estimation, and drummer Andrea
Centazzo, closing out the East Coast leg of his Ictus
Records Festival tour. The combination was astounding
from the opening moments, with Mingus’ sediment
toning reflecting that of Tibetan monks, at points
crossing into quasi-Mongolian throat singing. The
effect was gripping as he stood in back, eyes shut, inutter focus as e-bow guitar and near-whispered
trombone added fluctuating melodic lines and framedrum kit slowly built momentum. Mingus’ voice,unexpectedly climbed high, dancing through falsettoand dripping with gospel sounds and shredded fieldhollers, then into lost modes as he seemed to davenin a sacred place. Each musician, a consummate artist,
threaded their unique voice into one another. This
quartet, now, screams to be recorded.
(JP)

Park Avenue Armory will present Julian Rosenfeldt’s
Euphoria from Nov. 29th-Jan. 8th, 2023. This
immersive new work, commissioned by the Armory, ispresented in an arena-like setting, fully surrounding
the viewer with life-size projections of the Brooklyn
Youth Chorus and acclaimed jazz drummers Terri
Lyne Carrington, Peter Erskine, Yissy García, Eric
Harland and Antonio Sanchez. For more information,
visit armoryonpark.org.
A stretch of North Carolina Highway 740 where alto
saxophonist Lou Donaldson grew up in Badin, NC
has been renamed by the North Carolina Departmentof Transportation in his honor as Lou Donaldson
Boulevard. For more information, visit ncdot.gov/
news/press-releases/Pages/2022/2022-10-14-nc740-legendary-jazz-musician-lou-donaldson.aspx.
Author Nabil Ayers will give a talk with Rebecca Carroll
about his recent book My Life in the Sunshine at theCenter for Brooklyn History on Nov. 9th at 6:30 pm.
Verve Records/UMe and Third Man Records havepartnered to resurrect the popular reissue series
Verve By Request. Albums will be newly remasteredfrom original analog sources, when available, andpressed on audiophile-quality, 180-gram vinyl at Third
Man Pressing in Detroit. The series launches on Nov.
11th with Alice Coltrane’s Ptah, the El Daoud (1970)
and Roy Brooks’ Beat (1964).For more information,
visit vervemusicgroup.com.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 5

JONATHAN DURAND / COURTESY OF THE ARTISTINTERVIEWCOLIN
STETSONtranslation you get something that’s unlike either ofthem, the source or the thing that’s mimicking it. So interms of what I listen to, I don’t really have a genre.
I listen to a lot of classical music, Malian blues, Sufimusic, Eastern European folk music and hip-hop. And
a lot of metal.
TNYCJR: Any particular artists?
CS: Glenn Gould playing The Goldberg Variations. The‘82 version for me is the one, that’s a go-to that nevergets old. There are a number of Stevie Wonder records
that are perfect—you know, Songs in the Key of Life,
				(CONTINUED ON PAGE 43)

by kyle oleksiuk
C olin Stetson is a multi-reed player and composer who has
built one of the most interesting careers in music over thelast two decades. In addition to accessible-butunconventional solo work built on masterful and imaginative
uses of extended saxophone technique, Stetson is a soughtafter sideman, performing and recording with artists
including Anthony Braxton, Evan Parker, Bill Laswell,Hamid Drake, Tom Waits, Feist, Animal Collective, Bon
Iver, TV on the Radio, BadBadNotGood and his wife Sarah
Neufeld of Arcade Fire. He has also composed soundtracks
for film, including 2018’s Hereditary and the upcoming
2022 film The Menu.
The New York City Jazz Record: So the occasion ofthis interview is your performance at National Sawdustin Brooklyn this month. How did that come about?
Colin Stetson: Well I haven’t played shows for sometime and I have a new film score coming out inNovember. So it was really just one of those things,
playing a few shows around the country in advance ofthat release. And also I like to keep playing foraudiences at a pretty regular clip. I don’t like to go for
too long, like pandemic-long, without getting out there
and having that fun. So it’s in part that I wanted tocome back and for audiences again and partly because
there was an occasion for it.
TNYCJR: Will you be playing the music that you
composed for the soundtrack?
CS: No, the music that’s composed for the soundtrack
is pretty heavily orchestral, not playable by one person.
I’ll be playing my solo saxophone repertoire. At thispoint, much of it is new for anybody who hasn’t been
to my recent shows in Europe. It’s all from records
that’ll be coming out in 2023.
TNYCJR: What is your relationship to storytelling?
You’ve described a few of your albums, like the New
History Warfare trilogy and All This I Do For Glory, interms of stories and obviously you do a good amountof soundtrack work.
CS: The solo records aren’t literally “stories”, but I findit helpful to create a kind of corollary narrative for arecord that includes imagery, narrative plot, character
arc, which can then inform the writing and shape of
the individual songs and overall arc of a record. The
specifics of those narratives matter to me only in termsof the shaping of the record, it doesn’t matter whether
someone knows that storyline to listen to the music. So
it’s different from the film work, but there is aconnection in that I’m creating music that is in someway informed by narrative, but most art is storytellingon some level. The stories that I write and the records
that I write all tie into one another, are all part of ashared-universe kind of framework. And on somelevel, I suppose that all of the scores are for me as well.

There’s a thread, a through line. It’s not something thatmatters to the individual films, but it’s somethingthat’s more personal, I suppose, something that’s
operating on a different level than the surface and thefunction it serves for the film.
TNYCJR: This most recent soundtrack, what does itmean to you and why did you decide to choose thisparticular film project?
CS: This upcoming film is called The Menu. I read a lotof scripts and generally speaking there are some thatjust really stand out from all the others. They’re few
and far between and this was one of them. It was
perfect, very lean, streamlined, right to the point, no
fat on it. It does exactly what it needs to do and nothingelse and does so in a way that I haven’t seen before.
The story that it’s telling is not one that has been told
a million times and that’s rare, especially now, because
so much of the business is telling the same story over
and over again. The Menu is a really fun, clever, darknovel and I could see it all very clearly in terms of themusic, right off the page. It’s always a good sign when
the inspiration’s all there from the get-go, even before
you start to see any footage.
TNYCJR: What about the bass saxophone specificallyattracted you? How did you get into it?
CS: I started playing alto saxophone when I was nineand I’ve always been drawn to the bigger horns andthe lower end of the spectrum. I had wanted to use thebass saxophone for as long as I can remember knowingthat they existed. I got mine I think in 2005 and I’ve
been playing it since then. I like the depth of thefrequency. I like the fact that it has an enormous
overtone range that gives it a pitch range that’s
enormous. It’s physically demanding, so it’s not
something that you can just pick up every once in awhile. You have to either engage with it like an athlete
and keep it up or it goes away.
TNYCJR: Are there any bass saxophonists who’ve
inspired you?
CS: The one that really turned me on back in the day
when I first got very excited about it was Peter
Brötzmann, specifically on a record called Low Life that
he did with Bill Laswell. That was a big one for me
growing up.
TNYCJR: What else do you like listening to?
Saxophonists or otherwise.
CS: I don’t specifically listen to saxophone music, quite
the contrary. Most of the stuff I do solo on the
saxophone came initially from using the saxophone toimitate other instruments, trying to approximate those
things as closely as possible and because of the

6 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORDHNOVEMBER 1ST - NOVEMBER 6THH

BEN WENDEL QUARTETGERALD CLAYTON - LINDA MAY HAN OH - OBED CALVAIRE

HNOVEMBER 8TH - NOVEMBER 13THH

DONNY
McCASLIN QUINTETJULIAN LAGE - GREGOIRE MARETSCOTT COLLEY - JOHNATHAN BLAKEHNOVEMBER 15TH - NOVEMBER 20THH

TOM
HARRELL QUINTETDAYNA STEPHENS - LUIS PERDOMOUGONNA OKEGWO - ADAM CRUZHNOVEMBER 22ND - NOVEMBER 27THH

JASON MORAN& THE BANDWAGON

NASHEET WAITS - TARUS MATEEN

H3 PM MATINEE - SUNDAY, NOVEMBER 27TH ONLYH
DIA ART FOUNDATION PRESENTSJASON MORAN SOLOHNOVEMBER 29TH - DECEMBER 4THH

CHRISTIAN McBRIDE~~NEW JAWN~~JOSH EVANS - MARCUS STRICKLAND - NASHEET WAITSCOMING IN DECEMBERHCHRISTIAN McBRIDEH
HKENNY BARRONHHCHRIS POTTERHEDUARDO DOLENGIEWICHARTIST FEATU RELEOGENOVESE

For more information, visit facebook.com/leogenovesemusic.
Genovese is at Nublu 151 Nov. 10th with Spacepilot, Fiction
Bar/Café Nov. 25th and Bar Lunàtico Nov. 29th. See Calendar.
Recommended Listening:• Leo Genovese–Haikus II(Fresh Sound-New Talent, 2003)• Francisco Mela–Melao (AYVA Music, 2005)• Leo Genovese–Seeds (Palmetto, 2010)• Leo Genovese–Argentinosaurus (Newvelle, 2015)• Spacepilot–Hycean Worlds(577 Records-Orbit577, 2019)• Leo Genovese/Mariano Otero/Sergio Verdinelli Trio Sin Tiempo: Ritmos de Agua (577 Records, 2021)

by george grella
Every musician has what the comic books call an origin

story. For Argentinian keyboard player Leo Genovese,that story is both contemporary and old fashioned.
“I’m a farm boy,” he says in a recent phone conversation.
“When I was still living in Argentina, the records I waslistening to that were mostly from rock and roll or pop,in every song there was an element that was mysterious,
some kind of sound that caught my interest.” That same
story could also have been from a musician fromgenerations ago talking about the radio, but that also
speaks to an age when many jazz musicians grew up
listening to jazz. Genovese had a different route, one
common to contemporary musicians.
In his hometown of Venado Tuerto, he explains,most of the records were fusion albums—he mentions
the GRP label—and talks about how a “West Coastsound” was most accessible to his ears. But for
Genovese, the great mystery was something he heard
on Donald Fagen’s classic album The Nightfly.
The Nightfly is not a jazz album, but, as with
Fagen’s Steely Dan records, “It’s full of jazz players,”
Genovese points out, “and there was a solo by[keyboard player] Greg Phillinganes, track number
three”—the gently funky, harmonically off-kilter blues“Ruby Baby”—“that soul and blues, it was like, man,what is that sound? I was just really, really seduced...
Just to access that, that kind of of language,” he adds,
was the start of “a long process.”
Genovese was playing keyboards in a rock groupwith friends, listening to Dave Grusin and George
Duke and Weather Report. “The way music circulated
in those days,” he says, “someone will buy a CD thenrip it on cassette, you will not know the background of
the musician, there’s no information, only cows andcars.” He “was getting really thirsty for more.”
He went to an audition that Berklee College ofMusic held locally, made it and arrived in Boston justbefore the turmoil of 9/11 and the Argentinian
economic collapse. “It became really, really toughyears, I actually didn’t speak English at that time. So I
couldn’t really communicate much. But at the sametime I was really feeling like learning. I think there’s aninner force in the Argentinian community that was at
the school at the time, some kind of motivation. And
I do have to say that the school did help us out a lot
financially, you know, so we could continue ourstudies, something I never forgot. And something I’mvery grateful for.”
Berklee also opened up his professional performing
experience. He met bassist Herman Hampton, who
was on the Berklee faculty. “He got me a gig,”
Genovese says, “he said, like, ‘man, if you’re free
Sunday and you come and play with me in thisjam session in Roxbury,’” at the Biarritz Lounge.
“So that became my first gig. It was weekly. A lot ofguys that were in New York, if they would be in town,
would come through that place. It was like a really
African-American hang. That’s where I could get used
to learning the repertoire and, also at the same time,learn English. It was like a parallel school at night.
I never forget this.”
All that experience has positioned Genovese as amusician who thrives in both straightahead jazz—as
on his debut release Haikus II (Fresh Sound-New
Talent)—and in classic rock fusion, as heard on Hycean
Worlds (577 Records) from the trio Spacepilot. He has
played in the bands of bassist Esperanza Spalding andtrumpeter Jason Palmer and, as of late, is in thereincarnated version of The Mars Volta (Genovese was
speaking from a hotel in Idaho, where he is on tour
with the band). His latest release as a leader, Ritual, ison 577 Records, where he is something of a de facto
house pianist, appearing on albums led by guitarist
Justin Purtill and bassist Sean Conly.
That came through his relationship with drummer
Federico Ughi, who runs 577 and whom Genoveseadmires. “I was always like hip to what he was doing,
what his artistic vision was. It is like a family and I’ma fan of a lot of music he puts out. So I’m very happy
to be a part of it.” He also points out that Spacepilot,
which is completed by guitarist Elias Meister anddrummer Joe Hertenstein, has been playing together
for eight years or so.
Genovese’s first 577 release, Trio Sin Tiempo: Ritmosde Agua (2021), has Mariano Otero on bass and Sergio
Verdinelli on drums, two more longtime friends andcolleagues, and his own latest release, Ritual, brings
together drummer Jeff Williams and bassist Damian
Cabaud, the latter with whom he has been playing for
20 years. That album also adds vocalist Nadia Larcher
on several tracks.
“That’s one of my directions,” Genovese says.
“The trio setting has been historically like a stage forany of us who approach this instrument, a good groundchance to explore. That album was recorded a few
years ago, before the pandemic. So it’s been in thecloset for a while.”
With such varied experience and what remains along lead time in jazz in general between live
performances and the opportunities to put out records,
listening to Genovese’s work, beyond the quality of his
playing, is like slowly discovering the work of a finewriter from a foreign country who has produced a lotof work but who is only now being translated andprinted in English. There is a top level feeling of
freshness, along with the automatic response that hestill must be learning and developing and then therealization that there is great sophistication andimagination in his playing and what he is doing.
That goes back to what he has said about his
background, listening to and discovering thosemysterious sounds, which, for a farm boy from
Argentina, also seemed to come fresh and surprising,from faraway lands. “Yeah, that is the sound that still
keeps me interested, keeps me practicing and keeps me
studying.” It may be jazz, it may be something else. As
Genovese says “I’m not in the rock and roll school now,
but I’m still in school, you know?” v

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 7

ON THE COVER

COURTESY OF THE ARTISTKEN INPEPLOWSKI
THE MOMENT
by jim motavalli

K en Peplowski, one of the world’s great swing-oriented clarinet and saxophone players, started
young. In high school, which was in Garfield Heights,
Ohio near Cleveland, Ken and his brother Ted, atrumpet player, worked regularly at Polish dances andweddings. “My first gig officially was when I was 11 or
12,” Peplowski said. “My brother and I had a Polishpolka band in Cleveland. We had to learn a lot of songs,
because when you play at dances you find yourself
taking a lot of requests and playing standards and Top
40 things.”
From those humble roots, Peplowski became an
in-demand collaborator for artists ranging from Hank
Jones and George Shearing to Madonna and Leon
Redbone. He has been particularly popular withsingers, including Peggy Lee, Marianne Faithfull,Nicki Parrott, Susannah McCorkle, Carol Sloane and
Mel Tormé (who said, “The man is magic”). Peplowski
was with the latter for seven years, a stint that left him
with many colorful stories about the Velvet Fog, who
was parsimonious with a dollar.
In addition, Peplowski has made nearly 100
albums for Concord, Arbors, Nagel Heyer, Capri andmany other labels, some in Japan like Venus. Asa sideman, he is on hundreds of releases. Peplowski isa swinger at heart, but a modernist, too.
His first instrument was the clarinet. “I’m gratefulthat I started on clarinet because it is a more unforgiving
and demanding instrument,” Peplowski said. “I had tolearn saxophone because it was a natural fit for thekind of music I was playing on the weekends, but it ismuch easier to start on clarinet and switch to sax thanthe other way around. Even now, I focus my practicing
mostly on clarinet. I try to approach the sax and clarinet
as two very different instruments.”
When Peplowski was only 20, he was recruited for
the Tommy Dorsey band, then under the direction of
Buddy Morrow. “Buddy was a phenomenal trombone
player, a veteran of the New York studios who wasa member of The Tonight Show Band and played withPaul Whiteman,” Peplowski said. He was in the Dorsey
band for two years, playing mostly one-nighters 48
weeks out of the year. “Let’s just say I went to college
for those years,” he said. “I learned a lot. I was playing
lead alto in the band and Buddy gave me a big feature
spot on clarinet. He even had me doing standup
comedy, you know, Henny Youngman ‘take my wife,
please’ type of stuff. I bombed all over the UnitedStates and the band thought it was hilarious that
Buddy sent me out there to die.”
The only way to get a raise out of Morrow was tothreaten to quit and that is what Peplowski did.
“Buddy called me up to his room and told me, ‘I’ll let
you leave if you promise you’ll move to New York
instead of going back to Ohio and being a big fish ina small pond,’” Peplowski said. “He gave me thiswhole speech about challenging myself and always
trying to play with people who were better than me.
I really took it to heart.” New York is where he went
and where he stayed, but not before spending eightmonths with the road company of Annie “just to makesome money” and taking some important lessons fromsaxophonist and Charlie Parker acolyte Sonny Stitt.
“I met Sonny at the Jazz Showcase in Chicago,”
Peplowski said. “It was an off-night, maybe a Monday.
I went to the front desk of the hotel we were bothstaying at and asked for Mr. Stitt’s room number. And
so I very timidly knocked on his door around noon.
I asked him if I could take a lesson and he said, ‘Sure,go get your horn.’ I had this big fake book with 1,001
songs in it and Sonny would just flip through it andpick random songs to do, some of them really obscure.
He’d just choose keys, like it was nothing. We spent 10hours together and also walked around the streets ofChicago. I hung with him three or four times and every
time it was very intense and meaningful. I asked him,
‘How do you stay so consistent night after night? Andhe said, ‘When you’re playing, just find at least one
person you can connect with on the bandstand,rhythmically, harmonically or whatever and lock inwith them.’ Playing that way he could actually lift therhythm section and make them play better.’”
Then Peplowski went to New York where, in 1984,
he was hired—as a tenor saxophonist—for the new bigband that Benny Goodman was putting together. It
turned out to be a great experience. “I would say that
Benny is my second-biggest influence, after Jimmy
Hamilton who played with Duke Ellington. If you
want to hear what Jimmy could do, get Duke’s Great
Paris Concert album [live in 1963], which showcasesthat great second band with Jimmy, Paul Gonsalvesand Johnny Hodges. Jimmy had that beautiful
symphonic sound, yet he played the most swinging
jazz.” Peplowski has only good things to say about
Benny Goodman, as a person and as a musician. “He
had this great rhythmic drive and it stayed with him
through 50 years of playing many of the same songs,”
he said. “It always sounded like it was the first time
for the song and he had such a great sense of melody.
He’d say, ‘Fletcher Henderson was my Mozart’ and,in fact, we used some of the old Fletcher Henderson
arrangements while I was with him. Benny liked thatlighter sound.”Peplowski said that Goodman had an innovative
rehearsal technique. “He would rehearse the horns bythemselves, with no help from the rhythm section, nofoot tapping, even. So if you didn’t have a strong senseof time, you’d either develop one really fast or you’dbe out of the band. That gave the group a reallydistinctive lift and it just swung like crazy.” Peplowski
said that Goodman never played better than he did onenight that Frank Sinatra was in the wings.
Only recently, Peplowski learned that Goodman
had worked on getting him a record deal and evenoffered to produce the disc himself. “But by that time I’dalready signed to Concord.” Peplowski made 15 solo
albums for the label, from Double Exposure (1987) to Last
Swing of the Century (1999), but he is not a person forlooking back. “I don’t listen to my old records and that’s
not some false modesty. I really don’t put them on,” hesaid. “It would be like watching the same home movie
over and over. Once you’ve done it, you’ve done it.”

8 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORDOne record he could listen to now and then is Easy
to Remember on Nagel Heyer, because it features thelate Bobby Short in his last recordings. Peplowski also
served as musical director for another great singer,
McCorkle, and is heard on her Concord album with
Emily Remler, No More Blues. “I did a couple tours withher, too and I still get a twinge of sadness thinking
about her, because she never talked about the mental
problems she was having,” Peplowski said. (McCorkle
committed suicide in New York in 2001.)
Peplowski, who probably knows 1,000 songs, has
occasionally subbed for another clarinet player, Woody
Allen, at the Café Carlyle. But if you haven’t seen him
playing live recently, it is because of COVID and amultiple myeloma diagnosis in August of 2021. Despite
the challenges, he held down a Facebook Livestreaming show through much of the pandemic’s worst
days. The cancer is now in remission, fortunately, but
Peplowski has been marked by it. “I have a lot of
residual issues and the doctors are trying to get to thebottom of it. It may be an ulcer caused by the chemo.
I’ve gone down eight clothing sizes and lost almost 80
pounds.” A Go Fund Me campaign started by
Peplowski’s close friend and frequent musicalcollaborator, guitarist Frank Vignola, raised far inexcess of the $70,000 goal.
The good news is that Peplowski is playing live
again. “When I’m up there on the bandstand, I can forget
about everything and just get into the music,” he said.
“And that helps me in a lot of ways.” Peplowski is set toplay Birdland this month and has other gigs around thecountry through February. All the Thanksgiving shows
will feature a live version of his Facebook show, “In theMoment”, in which he tries never to repeat a song. Oneof the tunes he played—just once—is a song that Jimmy
Van Heusen and Yip Harburg wrote for Sinatra’s album
She Shot Me Down (1981). The song was never recorded,
but now it has a second life.
Peplowski’s voluminous record collection, housedin his Manhattan apartment, includes many folk, pop
and rock entries. Conversations with him are likely toveer into unknown areas, such as his love for rockgroup Procol Harum. “I would love to find a way into
‘A Whiter Shade of Pale’,” he said. “That melody is so
great. I’ve played a bunch of Beatles songs over theyears. George Gershwin wrote great melodies and Paul
McCartney still does.” v
For more information, visit kenpeplowski.com. Peplowski is
at Birdland Nov. 22nd-26th. See Calendar.
Recommended Listening:• Ken Peplowski–Double Exposure (Concord, 1987)• Ken Peplowski–The Other Portrait (Concord, 1996)• Ken Peplowski/Howard Alden–
Pow-Wow (Arbors, 2006)• New York Trio/Ken Peplowski–
Stardust (Venus, 2008)• Ken Peplowski–Enrapture (Capri, 2015)• Dick Hyman/Ken Peplowski–
Counterpoint (Lerner & Loewe) (Arbors, 2019)nov 8 – 20

Christian
McBrideMaria
Schneider

Issac
DelgadoFantasia

Alain
Perez

Nikki
Giovanni

Rakim
Terence
Blanchard

Represent! A Night of Jazz,
Hip Hop and Spoken Wordfeaturing Christian McBride,
Rakim, Nikki Giovanni and more

Terence Blanchard
Nov 10 @ 7:30PM
GRAMMY®-winning jazz trumpeter andcomposer Terence Blanchard is joined by
The E-Collective and Turtle Island Quartet.
Fantasia& Jazzmeia Horn
Nov 10 @ 8PM
A night of powerhouse vocals with
GRAMMY® winner Fantasia (American Idol)
and Sassy Award winner Jazzmeia Horn.

Trouble No More
Performing the iconic album
Eat a Peachfeaturing special guest DumpstaphunkSun, Nov 13 @ 7PM
The Allman Brothers Band’s Eat a Peach
will be performed in its entirety by theincredible musicians of Trouble No More.
Carolyn Dorfman Dance
Jazz Legends and the Power of NOW!
Nov 16 @ 7:30PM
Carolyn Dorfman Dance premieres
Jazz Legends and the Power of NOW!, witha live jazz performance by Regina Carter.

Dee Dee Bridgewater& Savion Glover
Interpretations
Sat, Nov 12 @ 3 & 7:30PM
Icons Dee Dee Bridgewater andSavion Glover come together for an
evening of jazz, dance and improvisation
like you’ve never seen before.

Issac Delgado & Alain Perez
Fri, Nov 18 @ 8PM
The GRAMMY®-winning duo Issac Delgado
and Alain Perez perform their dazzlingstyle of salsa and Cuban jazz.

Yellowjackets
Sun, Nov 13 @ 7PM
Get in the jazz-fusion groove with
Yellowjackets’ sophisticatedarrangements, tight rhythms andexpansive improvisations.

NJMEA All-State Jazz Band and
NJMEA All-State Jazz Choir
Fri, Nov 18 @ 7PM
Hear the next generation of jazz artists as
NJMEA Jazz Band and Jazz Choir performwith special guest Christian McBride.

Maria Schneider Orchestra
Sat, Nov 19 @ 3 & 7:30PM
NEA Jazz Master, GRAMMY® winner andacclaimed composer/bandleader
Maria Schneider returns to NJPAC.
Represent! A Night of Jazz, Hip Hopand Spoken Word with Rakim,
Speech, Chuck D, Black Thought,
Dupré “DoItAll” Kelly, Nikki Giovanni,
Mayor Ras Baraka, The Last Poets,
A Christian McBride Situationand many more.
Sat, Nov 19 @ 8PM
For one unmissable night, NJPAC’s
City Verses unites the leading voices in jazz,
hip hop and poetry.
Dorthaan’s Place: Vanessa Rubin Trio
Sun, Nov 20 @ 11AM & 1PM
Join us for Dorthaan’s Place, the legendary
jazz brunch series at NICO Kitchen + Bar —starring vocalist Vanessa Rubin.
Sarah Vaughan International
Jazz Vocal Competition
Sun, Nov 20 @ 3PM
Hear the next generation of powerhousejazz vocalists at “The Sassy Awards,”
honoring the legacy of Sarah Vaughan.

Represent! A Night of Jazz, Hip Hop and Spoken Word is presented by NJPAC & City Verses. City Verses is conducted in partnership with Rutgers University-Newark.
Support for this program was provided by a grant from The Andrew W. Mellon Foundation.
The American Song series at NJPAC is presented, in part, through the generous support of the Blanche and Irving Laurie Foundation, the David S. Steiner and Sylvia Steiner Charitable Trust,the Joan and Allen Bildner Family Fund, and the Smart Family Foundation/David S. Stone, Esq., Stone & Magnanini.

Buy tickets today at njpac.org or call 1.888.MY.NJPAC! • For full jazz lineup visit njpac.org/jazz
New Jersey Performing Arts Center • One Center Street • Newark, NJ
Nov_NYC Jazz Record_9.5x12.indd 1

10/12/22 1:28 PM

SILVIO MAGAGLIOENCOREYUKO
FUJIYAMA
by kurt gottschalk
Adventurous jazz pianists are all too often comparedto the great Cecil Taylor. Years after his death, themaster remains a mile-marker, his name almost an
adjective for the indescribable.
But sometimes it fits. Taylor ’s music brought
Yuko Fujiyama to the outskirts of free improvisation,
so much so that years ago she could be seen at his
concerts, silent and in rapture, a small white dog
named Yuki on her lap, all four eyes focused on the
shaman on the stage. “Maybe for her it was a lullaby,”
Fujiyama said with a laugh, remembering her longsince-passed canine companion. “She was very quiet
except once, I went to see Shelley Hirsch and she
jumped up on the seat.” Fujiyama, speaking by video
call from Japan, imitated a howl.
After discovering Taylor ’s music in 1980—sheheard drummer Jerome Cooper playing a recording
in his East Village apartment on her first trip to New
York City and, seeing her transfixed on the street,
invited her up to listen—the piano maverick becamea model and inspiration for Fujiyama’s approach to
free jazz. But her piano hadn’t been heard, at least notin public, for more than 15 years when Innova
Recordings released her Night Wave in 2018 and thenit was a very different approach to playing and toleading a group. But Taylor was still a factor and ina roundabout way was key to Fujiyama’s long hiatus.
After putting a pause on public performance in theearly 2000s, Fujiyama retreated to her apartment in the
Bronx, where she has lived since making New York her
permanent home in 1987, and retreated to her own
piano, working on developing new ideas.
“I was so happy doing that free improvisation,
I love that, but from 2000, I wanted to do my own
compositions,” she said. “I was trying to compose, but
I didn’t think it would take so long. Finally, I thought
it was OK to start to perform. I thought, ‘my composing
isn’t so good, but maybe it is OK.’”
During her hiatus, she also made visits to Japan,

to see her parents in Sapporo and, as it happens, replace
old inspirations with even older ones.
“I’m very impressed by Cecil Taylor,” she said.
“Cecil changed my life. My music was very influenced
by his music but around 2000 I started to think, ‘thisexpression is not the experience of my whole.’ I started
to look for my language. I thought, I’ll start again.
“Cecil is so high energy, it is so amazing,” shecontinued. “I think that’s an energy everybody has
inside. He pulled that out from me. That root is
American jazz. That’s not me. What I found is more
space. I started to work in Japan with Butoh dancers.
The way they move their bodies, feel the energy fromthe space, I feel that is somewhere I want to go. I feel it
is Asian expression.”
Those influences came to the surface on Night Wave
(which was dedicated to Cooper) and are present again
on Quiet Passion, released by Intakt last spring. Night
Wave featured a couple of players who may well haverelated to Fujiyama’s new Asian approach—violinist
Jennifer Choi and percussionist Susie Ibarra—alongwith Graham Haynes on cornet and flugelhorn. Whilehe may have been an ethnic and gender outlier in thelineup, he fit into Fujiyama’s concept. “We can share thespace,” Fujiyama said of Haynes. “His roots are groove
but he has a common space with me. He has a lot ofsilence in his music. I assume his groove is happening
but it’s similar to a Butoh dancer’s breathing.”
Haynes returns for Quiet Passion, along with theJapanese-born electronicist Ikue Mori, with whomFujiyama has occasionally played since the ’90s. She isquick to point out, though, that the expression she seesas Asian isn’t uniquely Asian, citing other jazz pioneers
with an understanding of open space in their music—
Marilyn Crispell, Roscoe Mitchell, Wadada Leo Smith—as well as her own bandmates on the two records she
has made since coming out of professional seclusion.
“It is all human expression, breathing, feeling thespace, listening to silence,” she said. “It is not all about
race, but Eastern expression. I was always frustrated in
New York City that it is not well known.”
Quiet Passion builds downward from Night Wave,
with more space in the music and an ethereal
atmosphere created by Mori’s processed drum
machines and Haynes’ electronic effects. It is abeautifully serene record, sometimes active but neveranxious, anchored by Fujiyama’s readings of thecontemporary poet Shuntaro Tanikawa (translated by
Fujiyama into English).

That wonderful realization of her new approach
isn’t the only way Fujiyama is, at 68, redefining her
career. This fall, she registered a nonprofit,
Contemporary East, which will make its programming
debut this month at Roulette, setting into motion
another new aspect of her career, that of event producer.
The first of the new organization’s efforts will consistof performances by musicians who are either Asian orat least, to borrow her phrase, “feeling the space.”
Appearing over the two nights will be artists familiar
to New York stages—Haynes, drummer Reggie
Nicholson, reedplayer Ned Rothenberg, vocalist/
multi-instrumentalist Jen Shyu, drummer Satoshi
Takeishi—as well as the South Korean actor and singer
Do-yeon Kim. Despite Fujiyama’s newfound interest incomposing, the nights will be geared toward free
improvisation and introducing Eastern approaches to a
New York audience.
“I want to show the audience the Eastern traditionin free improvisation music,” she said. “I want to showthat by putting musicians in various combinations
so the audience can understand the tradition. It iscontemporary, it is very different from traditional but
I can hear the common expression, different fromAfrican American free improvisation, European
improvisation. Each culture has a different beauty.
I hope with this organization I can continue thispurpose, introducing many musicians. My dream isinviting many musicians from Asian countries. But I’ma super beginner producer so I don’t know how much
I can do. This is my first time ever producing so I hope
it works.” v

brother.”France had a huge, burly sound. No ‘lick player ’,France played the jazz vocabulary he absorbed as ayoungster, the native tongue of swing and bebop. He
was at home with Duke Ellington-Billy Strayhorn, theGreat American Songbook, Charlie Parker and Dizzy
Gillespie, blues and ballads.
Mike LeDonne, who worked to regain his organchops in a trio with France and Joe Dukes at
Showman’s said, “Percy was part bop tenor player
and part Red Prysock. Hearing Percy’s tone all by
itself was incredible. His sound and phrasing werereally right up there with the very top-level tenor
players of all time.”
Doggett told Phil Schaap during the WKCR-FM
Percy France Memorial broadcast, “I would place
Percy France’s sound more in the realm of a Don Byas.
Some of the guys at that time were doing a lot ofhonking. And Percy being a young man, you would
think that he would follow in that tradition. But hewas following in the tradition of the more elite
players.”
France’s second act extended beyond New York
City. He toured Europe in the winter of 1982 withdrummer Oliver Jackson’s trio and he replaced Buddy
Tate in pianist Sammy Price’s Two-Tenor Boogie,
playing with Price for the rest of his career andappearing with him (and fellow tenor George Kelly)at the Bern Jazz Festival in 1987.
France died Jan. 4, 1992, struck by an automobile
in New York. Battling cancer, he had been off thescene for nearly two years. His hometown papers
made no mention of his death.
But France’s influence lives on in the memories
and in the playing of artists like LeDonne, Allen
Lowe, Scott Hamilton and Doug Lawrence. As anelder who organically played the jazz language theyemulated, France drew those young musicians toward
him. He treated them as peers and encouraged theirdevelopment, imparting lessons about the musicbusiness, about life and about jazz.
Lawrence was Percy’s front-line partner in the
Two-Tenor Boogie at the last known gig and recording
by France in April 1990 at the West End Gate andbroadcast on WKCR-FM. He said, “Percy France wasa giant on the tenor saxophone. He deserved much
more recognition than he ever got. No one deserves to				(CONTINUED ON PAGE 43)

For more information, visit roulette.org/event/fujiyama-2.
Fujiyama is at Roulette Nov. 20th-21st. See Calendar.
Recommended Listening:• Ellen Christi, Yuko Fujiyama, Masahiko Kono,
Mauro Orselli–Reconstruction of Sound(Network, 1993/96)• Daniel Carter, Sabir Mateen, Yuko Fujiyama,
Susie Ibarra, Wilber Morris–One World Ensemble:
Breathing Together (Freedom Jazz, 1995)• Yuko Fujiyama Quartet–Re-entry (CIMP, 2000)• Brian Willson–Things Heard Unheard(Deep Listening, 2005)• Yuko Fujiyama–Night Wave (Innova, 2017)• Yuko Fujiyama/Graham Haynes/Ikue Mori–
Quiet Passion (Intakt, 2019)

LEST WE FORGETPERCYFRANCEby daniel gould
S ome know Percy France from a famous Blue Note

album (Jimmy Smith, Home Cookin’, 1958-59), or as
Bill Doggett’s first tenor saxophonist. Others may
remember hearing France play at a New York City
club during his career ’s second act, from roughly
1979-90. Too many will only say, “Who?”
France was born Aug. 15th, 1928 in New York
City. He started on piano and clarinet, switching totenor saxophone at 13. He was childhood friends with
Sonny Rollins and gigged often with him at the
Audubon Ballroom and elsewhere. In 2021, Rollins
recalled of those early days, “He was probably thebest player around at that time. I never could beathim. We were good friends and I think of him as my

10 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

L ABEL SPOTLIGHTCONFRONT
by wilbur mackenzie
The website for Mark Wastell’s Confront Recordings

prominently states: “proudly publishing adventurous
music since 1996.” But the beginnings of the UK-based
Confront go back to around 1993. “As a musician
I was beginning to make other connections musicallyand concluded that the best way to help promote
myself and my activity was to form a little label.”
Eventually, a recording with percussionist Nick Smith
called Refraction became the debut release in an editionof 50 cassettes.
Around the same time Wastell began Confront,
he also began working with two other individuals,
forming a group that became somewhat central to thescene that emerged near the end of the millennium:
IST with Wastell on cello, harpist Rhodri Davies andbassist Simon H. Fell. Though IST’s debut release was
not on Confront, a recent boxed set of early recordings
is one of many appearances of IST (and the threemembers individually) on the label.
“Meeting Simon and Rhodri, forming IST andlaunching Confront are inextricably linked,” says
Wastell. “Meeting Simon in 1993 coincided with me
beginning to work at a jazz/improv record shop andI stocked his Bruce’s Fingers label. His independent
way of publishing and controlling your own music onyour own label was a very powerful influence on me.”
The members of IST first all interacted together in
1995: “These early rehearsals by IST took place in the

3+3+2
IST

Cello-intern SolosMark Wastell

small studio at the rear of the record shop. Our debut
concert was in April 1996 and Confront launched in theautumn of that year. The relationship between IST and
Confront has been a constant for 25 years. Even now
I’m working on some archive IST material to releasein the next year or so.” Fell passed away in 2020,
though he had lived for many years in France. The
group continued to work, albeit more sporadicallythan in those early years.
Apart from a brief hiatus between 2011-2013,
Confront has continuously released new recordings
and reissued older material “with ever increasing
speed and regularity. At its peak in 2016, to mark thelabel’s 20th anniversary, I released 20 recordings,
which is quite some achievement for a small imprint.”
Although based in the UK, Confront has always
maintained porous aesthetic and procedural borders.
One notable release from the late 2010s is Americancellist Seth Parker Woods’ asinglewordisnotenough,recorded when Woods was still in the UK studying
at Huddersfield University. The album is notable forits emphasis on fully/predominantly-notated music,
including seminal AACM figure George Lewis’ “Not
Alone”, dedicated to cellist Abdul Wadud. Numerous
Confront releases investigate the relationship between
composed and improvised music, though “justglancing at the catalogue reveals dozens of releases
that involve a prescribed score or thematic route ofsome kind. It is definitely something that Confront has
been happy to promote,” says Wastell.
With Woods’ record, more jazz-influenced releases
like the piano trio Frequency Disasters featuring Steve
Beresford, the very ECM vibe of bassist Arild
Andersen’s Tales of Hackney with windplayer Clive BellLive at I-and-E
Keith Rowe/Mark Wastelland Wastell or the recent release by former Japan
vocalist David Sylvian with Davies and Wastell, a very
expansive vision of the label’s scope emerges. There isno specific philosophy that unifies Wastell’s curation.
“I just trust my judgment and have confidence in myselection process. Perhaps that is the important skill
the curator of a label must have.”
There is also a long tradition of showcasing
experimental artists from scenes originating far fromEngland. This includes duets between Americans(often ones based abroad), such as accordion player
Andrea Parkins and drummer Brian Chase, bassists
Kyle Motl and Zach Rowden, sound artists Jeph Jerman
and Tim Barnes or guitarist Sandy Ewen and bassist
Damon Smith. Then there are the many Japanese soundartists on the label as well, like Toshimaru Nakamura
or Taku Sugimoto. The main criterion for inclusion
seems to be aesthetic resonance, though “in the earlyyears it would have been musicians I’d met or playedwith personally.” With the move towards online music
distribution, things have mostly accelerated:“I suppose the international reach of the label is suchthat musicians in other territories have found Confront
and are attracted to its activities.”
Confront is more a conduit through which Wastellhighlights the creative output of his colleagues, rather
than an effort by Wastell to shape a specific creative
expression. “I’ll initiate groups or recording projects
for the label that I’m involved in as a musician but
I don’t do that with projects for other people. I never
get heavy handed with other people’s material, no
editing, no culling or reorganizing of tracks. Whatthey give me as a finished master will stay so.”				
(CONTINUED ON PAGE 43)

Bailey: With Apologies To G. Brecht
Fell/Ward/Wastell

Elaboration of Particulars
Tony Oxley/Alan Davie

VOXNEWS

VOCAL
PINGS
by suzanne lorge
Singer-guitarist Allan Harris is one of those

performing artists who is everywhere but flies justbeneath the radar. He has over a dozen albums to his
credit, shared the stage with a slew of celebrities like
Tony Bennett, Abbey Lincoln, Al Jarreau, Cassandra
Wilson and Wynton Marsalis and fronted formidable
ensembles like The Metropole Orkest, Berlin Jazz
Orchestra and Jazz at Lincoln Center Orchestra. And
this month he will be the fifth male singer ever tocompete in the Sarah Vaughan International Jazz Vocal
Competition. Last year he honored his Harlem
stomping grounds with 10 R&B/soul/gospel originals
on Kate’s Soulfood. But to take in the fullness of his
vocal, instrumental and compositional abilities, it isworthwhile to sample the full spectrum of his releases:
His gentle crooning on Love Came, the Songs of Strayhorn;
his irrepressible swing on Black Bar Jukebox; histwanging blues on Cross That River (The Story of a Black
Cowboy); his uplifting way with a holiday tune on
Dedicated to You, Allan Harris Sings a Nat King Cole
Christmas. He will likely draw from some of thesealbums when he competes (Nov. 20th) at NJPAC andhe stands a good chance of taking home the $5,000 cash

prize. But the non-cash prize is just as valuable—abroader platform for reaching listeners, sometimes
through big label interest. Harris deserves this kind of
success. Meanwhile, he will be gearing up for the Sassy
competition with his trio at Mezzrow (Nov. 18th).
LA-based vocalist Tawanda tied for first place(with Gabrielle Cavassa) at the 2020 Sassy Awards(rescheduled to June 2021). At the time, she had only
been singing out about a year, a remarkable entrance tothe vocal jazz world. This victory led to a debut album
for Resonance Records, Smile, a must-listen collectionof a dozen well-set standards. What stands out is her
spontaneous phrasing and natural scatting—as on “Outof This World” and “What A Little Moonlight Can
Do”—the same talents that impressed the judges lastyear. She introduces the album at Birdland (Nov. 17th).
Composer/singer Sarah Elizabeth Charles
releases Blank Canvas (Stretch/Ropeadope) at
Rockwood Music Hall (Nov 2nd). The album, with her
regular quartet SCOPE, rings with layered effects andemotionally charged vocals. Guest Christian Adjuah
Scott plays the Adjuah Bow (a double-sided electricharp) on the record and she will join the innovative
trumpeter/composer at Blue Note (Nov 14th-17th).
Portugal’s Maria Mendes explores a genredisruptive fusion on Saudade, Colour of Love (Challenge).
Repeating the formula from her 2021 Grammynominated tune, “Asas Fechadas” (Close To Me, Justin
Time), on the new release Mendes melds the heartbreakof fado, a form of Portuguese folk singing, with the
improvisatory zeal of vocal jazz. Her accompanimentis the lush Metropole Orkest, led by conductor/
orchestrator John Beasley. The live recording resoundswith both groove and pathos.
Somi brings selections from her acclaimed musicalDreaming Zenzile, a tribute to South African pop star
Miriam Makeba, to Zankel Hall (Nov. 18th). For thiscontemporary stage she will use electro-acoustic
chamber arrangements of the originals and the music
will soar as Somi channels Makeba’s infectious
vibrancy. She will also pull from some of her otherprojects—perhaps something from 2020’s Holy Room, alive recording with the Frankfurt Big Band, featuring
Beasley again as arranger/conductor.
Lisa Bielawa is a vocalist renown for her distinct
compositional style. Among her many honors are theprestigious Rome Prize in Musical Composition; a recent
co-commission by Carnegie Hall, the American Composers
Orchestra, the Orlando Philharmonic and the Boston
Modern Orchestra Project; a three-year stint as thefounding Composer-in-Residence and Chief Curator of
the Philip Glass Institute at The New School; and a 2018
Emmy nomination for the TV and online opera, Vireo: The
Spiritual Biography of a Witch’s Accuser. This month (Nov.
2nd-5th), she will have a residency at The Stone, presenting
titles such as “Scenes from La Ballonniste”, “Survivors
Breakfast: The Blackboard Pieces” and “Misreading theGreat American Songbook, Year Seven”. v

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 11

IN MEMORIAM
AQUILES BÁEZ (1964 - Sep. 12th, 2022)
The Venezuelan guitarist had credits
with Omar Acosta, Brenda Figgalo,
Danilo Pérez, Paquito D’Rivera, Giora
Feidman, Richard Bona, Luisito Quintero,
Juancho Herrera and several leader dates
for Latin World Entertainment Groupand Guataca. Báez died Sep. 12th at 58.
HENRY “PUCHO” BROWN (Nov. 1st,1938 - Sep. 21st, 2022) The percussionist
led his Latin Soul Brothers band from thelate ‘50s until the early ‘70s and thenagain in the ‘90s into the new millennium,
with albums on Prestige, Milestone andother labels. Brown died Sep. 21st at 83.
ROZ CORRAL (Jun. 7th, 1947 - Sep.
27th, 2022) The singer released a newmillennium album on Blu Jazz and wasa valued member of the city’s jazz scene,
booking the vocal series at North Square
Lounge for many years. Corral died
Sep. 27th at 74.
CHARLIE DEVORE (Jan. 4th, 1933 Sep. 24th, 2022) The trumpeter/
clarinetist was a member of the Hall
Brothers Jazz Band from the ‘60s-80s,
later joined Norrie Cox and His New
Orleans Stompers and often worked
alongside fellow Hall Brothers alumnus
Butch Thompson on albums for the G.H.B. family oflabels and Stomp Off. Devore died Sep. 24th at 89.
ERIC JACKSON (1950 - Sep. 17, 2022)
The radio host, known as the “Dean of
Boston Jazz Radio”, began his longtenure with WGBH in 1977 first with
“Essays in Black Music”, then “Eric in
the Evening” and finally “Jazz on
WGBH with Eric Jackson”. Jackson died
Sep. 17th at 72.
JOEL KAYE (Aug. 20th, 1940 - Sep.
18th, 2022) The multi-instrumentalist
led three iterations of his NeophonicOrchestra—in New York, then Denver
and, finally, Madison—from 1973 wellinto the new millennium after coming
up in the ‘60s bands of Stan Kenton andthen having credits under Johnny Richards, Bob Wilber
and Quincy Jones. Kaye died Sep. 18th at 82.

performance of Epitaph in 1989, releasing albums like
Music Written for Monterey, 1965, creating the Annual
Charles Mingus High School Competition or writing
the memoir Tonight at Noon: A Love Story. Mingus died
Sep. 24th at 92.
GIUSEPPE PINO (1940 - Sep. 13th, 2022)
The Italian photographer had his images
used in albums since the late ‘60s for
Polydor, BYG-Actuel, Atlantic, Verve,
Embryo, Flying Dutchman, Columbia,
PM, Enja, Arista, ECM, Black Saint,
Milestone, MPS, Fantasy, CBS, India
Navigation, Novus, Blue Note, Baybridge, Antilles,
Musica Jazz, Freedom, Pablo, Dreyfus, Splasc(h), GRP
and other labels. Pino died Sep. 13th at 82.
PHAROAH SANDERS (Oct. 13th, 1940
- Sep. 24, 2022) The saxophonist (néFarrell) was a crucial force in The New
Thing in ‘60s New York, beginning withhis 1964 eponymous debut for ESPDisk’, followed by two seminal dates in
1965, Ornette Coleman’s Chappaqua
Suite (Columbia) and John Coltrane’s Ascension(Impulse!). The latter would be the start of a highly
fruitful period with Coltrane and such albums as Om(Impulse!, 1965) Kulu Sé Mama (Impulse!, 1965), Live In
Japan (Impulse!, 1966), Expression (Impulse!, 1967) and
The Olatunji Concert: The Last Live Recording (Impulse!,
1967). He worked as a leader for Impulse! on nearly adozen albums from 1966-73 (with a date for Strata-Eastin there as well). Later he would work with Alice
Coltrane, The Jazz Composer ’s Orchestra, Gary Bartz,
Hilton Ruiz, Elvin Jones/McCoy Tyner, Art Davis,
Randy Weston, Sonny Sharrock, Kenny Garrett, Tisziji
Muñoz, Franklin Kiermyer, Wallace Roney, Alex Blake,
Kahil El’Zabar, David Murray, Chicago Underground,
Joey DeFrancesco and others, all while continuing torelease albums for India Navigation, Arista, Theresa,
Timeless, Doctor Jazz, Meta, Verve, Venus, Evolver andother labels. Sanders died Sep. 24th at 81. [An In
Memoriam tribute is on pgs. 14-15]
MARTY SHELLER (Mar. 15th, 1940 Sep. 17th, 2022) The trumpeter was inMongo Santamaria’s bands in the ‘60s70s and also worked with Sabu Martinez,
Dave Pike, Luis Gasca, Giovanni Hidalgo
and others and was an arranger for
Santamaria, George Benson, Jon Faddis,
Arturo O’Farrill and more. Sheller died Sep. 17th at 82.
KELLY SILL (1952 - Sep. 28th, 2022)
The bassist worked with Akio Sasajima,Frank Mantooth, John Allred, Eddie
Jefferson, Mike Jones, Bob Lark, Brad
Goode, Brian Gephart and Jack Mouseand co-led a couple of releases in the
2000s. Sill died Sep. 28th at 70.

RAMSEY LEWIS (May 27th, 1935 - Sep.
12th, 2022) The pianist won a 1965
Grammy Award for Best Instrumental
Jazz Performance - Small Group or
Soloist with Small Group for “The ‘In’
Crowd”, his first of three wins, theaccolade coming about a decade after
he debuted as a leader for Argo, beginning a long
stretch for that label (and continuing when it was
rebranded as Cadet), followed by prolific tenures with
Chess, Columbia, GRP and Narada Jazz, part of adiscography that also saw early sideman work with
Jimmy Woode, Max Roach and Bill Henderson andguest spots with Grover Washington, Jr., Frank
Mantooth, GRP All-Star Big Band and Monty
Alexander. Lewis died Sep. 12th at 87.

TREVOR TOMKINS (May 12th, 1941 Sep. 2022) The British drummer had
credits with Don Rendell/Ian Carr,
Michael Garrick, Guy Warren, Julie
Driscoll, Blossom Dearie, Nucleus, Tony
Coe, Mike Westbrook, Barbara Thompson,
Neil Ardley, George Chisholm, John
Horler, Howard Riley/Art Themen, Graham Collier andothers. Tomkins died in September at 81.

SUE MINGUS (Apr. 2nd, 1930 - Sep.
24th, 2022) The widow of bassist Charles
Mingus was tireless in keeping alive his
legacy and music, whether through theestablishment of repertory band like the
Mingus Big Band, Orchestra andDynasty, producing the premiere

DICK VENNIK (Jun. 4th, 1940 - Sep.
16th, 2022) The Dutch saxophonist had
a long partnership with compatriot
pianist Rein De Graaff (their bandreleasing albums for BASF, Universe
Productions and Timeless) along withmembership in Free Fair, tenure in the

12 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

Netherlands Metropole Orchestra and credits underKlaus Weiss, Nedley Elstak, Rob Agerbeek, Jimmy
Knepper and others. Vennik died Sep. 16th at 82.
RALPH“YOHURU”
WILLIAMS(Sep. 25th, 1946 - Sep. 17th, 2022) The
percussionist had credits with Don
Elliott and Alan Braufman and wasa member of the Creative Music
Improvisers Forum in New Haven(founded by Wadada Leo Smith, Bobby
Naughton, Dwight Andrews, Wes Brown and Gerry
Hemingway), appearing on the 1981 album The Sky
Cries The Blues. Williams died Sep. 17th at 75. v

FESTIVAL REPORT©MONTEREY JAZZ FESTIVAL / TOMAS OVALLEMONTEREY
by scott yanow

Brandee Younger

Since its first edition in 1958, the Monterey Jazz

Festival has been one of the top annual jazz events inthe world, having no close competition on the West
Coast of the U.S. Held over a September weekend at
the Monterey Fairgrounds, it has always featured across-section of the modern jazz scene and generally
leaves one feeling optimistic about the music’s future.
Unlike many other so-called jazz festivals, Monterey(with just a few minor and skippable departures)almost entirely sticks to its titular genre.
After 62 straight years at the same location,
Monterey was forced (as was the rest of the world) totake a hiatus in 2020. 2021 found the festival greatly
reduced from its six venues down to two. This year
there was music in four places although the threeindoor clubs remained closed due to COVID
restrictions. Due to the frequently chilly nighttime
climate, the festival ended early (between 9-10 pm)
each of its three nights.
With performances taking place simultaneously
around the Fairgrounds, it was impossible to see
everything although, by timing it right and being alert,
one could catch a little bit of each group. Sometimes the
programming made it difficult; whose idea was it tohave The Cookers playing at the same time as thereunion of Joshua Redman, Brad Mehldau, Christian
McBride and Brian Blade? Along the way this reviewer
saw a bit of the brilliant pianist Chucho Valdés
performing “La Creación” with a combination of the
Yoruband Orchestra and John Beasley’s MONK’estra;veteran vocalist Kim Nalley singing some bluesy swing
tunes with tenor saxophonist Houston Person; guitarist
Bruce Forman playing hot and good-humored bebop ina trio with bassist John Clayton and drummer Jeff
Hamilton; the Brubeck Brothers Quartet creating a fresh
version of “Take Five”; and guitarist Dave Stryker andvibraphonist Warren Wolf playing a lowdown blues.
Quite impressive during all-too-brief glimpses were thecolorful Mo’Fone (a rhythmic trio consisting of alto
saxophonist Larry De La Cruz, baritone saxophonist JimPeterson and drummer Jeremy Steinkoler), The Bad
Plus (now a quartet with tenor saxophonist Chris Speedand guitarist Ben Monder joining bassist Reid Anderson
and drummer Dave King), Brazilian bossa-nova singer
Fleurine, guitarist Julian Lage, the joyfully swinging
Emmet Cohen Trio, funky and danceable Sal’s
Greenhouse, trumpeter Keyon Harrold (playing a
powerful version of “St. Louis Blues” during apolitically-oriented set) and Matthew Whitaker, equallyskilled on piano and organ. Drummer Akira Tana’s
Otonowa quartet was most impressive for the inventive
soprano saxophone solos of Masaru Koga.
Most of the artists this year who this reviewer
concentrated on fell into one of three areas: John

Coltrane tributes, major jazz singers and the young
greats of today. Coltrane’s 96th birthday would havebeen on Sep. 23rd so that was a good excuse for someartists to play his music. The very first set that took
place at Monterey was one of the best. Drummer John
Hanrahan led a quartet of tenor saxophonist Andrew
Dixon, pianist Ian McArdle and bassist Giulio Javier
Cetto. They launched the festival by performing a fulllength version of A Love Supreme. The musicians
succeeded at the difficult task of being inspired by theclassic Coltrane Quartet without copying them too
closely. Dixon was particularly impressive, taking
high-powered solos in his own voice while paying
homage to Coltrane. The quartet also performed“I Want To Talk About You” (Dixon ending the piecewith a long cadenza) and McCoy Tyner ’s “Atlantis”.
Harpist Brandee Younger, the pacesetter on her
instrument, was featured in two different settings. She
led a trio of bassist Rashaan Carter and drummer Allan
Mednard but unfortunately the bass was mic’d way
too loud and some of the harp playing was lost.
However Younger was the star with Ravi Coltrane’s
Cosmic Echoes, a quintet that also included keyboard
player Gadi Lehavi, bassist Lonnie Plaxico anddrummer Elé Howell. That set allowed one to fantasize
about what the music might have sounded like if
Coltrane had lived a little longer and featured his wife
Alice more on harp rather than piano. Highpoints
included another version of “A Love Supreme”(Coltrane at one point repeatedly quoted “The Creator
Has A Master Plan” in tribute to the recently deceased
Pharoah Sanders) and “The Wise One”. While Coltrane
was particularly strong on tenor, Younger ’s inventive
and fluent playing consistently took honors and gained
the most applause from the appreciative audience.
When tenor saxophonist Redman, pianist Mehldau,
bassist McBride and drummer Blade originally got
together in 1994 to record Mood Swing and tour, they
were considered among the most important young
greats of jazz. Happily 28 years later, all have lived up
to their potential and still in prime form. Mostly
performing recent originals (including “Country Talk”
from Redman’s 2017 Still Dreaming album) and playing
inside/outside a bit reminiscent of Keith Jarrett’s‘70s group with Dewey Redman (Joshua’s father), thegroup’s music was unpredictable, adventurous and(due to their attractive tones) accessible.
28 years from now, one could imagine folks talking
with nostalgia about having seen the superb trio of
pianist Gerald Clayton, alto saxophonist ImmanuelWilkins and vibraphonist Joel Ross. The latter had led
an impressive and colorful quintet (with Wilkins, pianist
Jeremy Corren, bassist Kanoa Mendenhall and drummer
Jeremy Dutton) the night before but the Clayton trio
was more unique. The interplay and tradeoffs among
the three found them sometimes playing forwardlooking hardbop, which served as a contrast to theirfreer explorations and to a warm rendition of the Swing
Era standard “My Ideal”. Each is a master of theirinstrument and consistently inspired one another.
Also masterful was the latest edition of the allfemale super group Artemis. The current group withveteran pianist Renee Rosnes, trumpeter Ingrid Jensen,
alto saxophonist/flutist Alexa Tarantino, tenor
saxophonist Nicole Glover, bassist Noriko Ueda anddrummer Allison Miller is quite powerful. Jensen took
many blazing solos, Tarantino’s flute playing wasparticularly impressive and Glover created passionate
improvisations whenever she was featured. However
Miller was the real crowd pleaser. Her solos were fullof colorful intensity and joyful swing. Like Art Blakey,
she really drove the band, pushing the soloists to playat their most creative or be buried.
Several of jazz’ finest singers were featured atMonterey this year. Actually the Monterey Jazz Festival
All-Stars, which teamed together Kurt Elling and Dee
Dee Bridgewater, had as its star alto saxophonist Lakecia
Benjamin who was joined by pianist Christian Sands,

bassist Yasushi Nakamura and drummer Clarence Penn.
The chemistry between Elling and Bridgewater was justnot there yet although they tried hard on their opener,“Too Close For Comfort”. Elling’s performance ofWayne Shorter’s “Speak No Evil” (which featured his
vocalese lyrics) was too long and while Bridgewater
was intense on Nina Simone’s “Four Women”, it fell
short of Simone’s classic version. Since this group will
be touring, hopefully Elling and Bridgewater will havetime to develop some rapport and memorable duets. At
Monterey they were overshadowed by the brilliant
Benjamin, who turned every one of her solos into a
powerhouse performance, playing with fire andconstant creativity. Her feature on “Liberation” received
a well-deserved standing ovation.
Elling sounded much more at home leading
Superblue the following night. With strong support fromguitarist Charlie Hunter, keyboard player DJ Harrison,
drummer Corey Fonville and the Huntertones horns,
Elling was comfortable performing funkier material than
his usual projects. He was darkly humorous (including atale about the last day of Planet Earth), scatted up astorm, swung over the funk rhythms and displayed his
unique musical personality. His superior ballad singing
on “Endless Lawns” was one of the highpoints.
Veronica Swift (daughter of singer Stephanie
Nakasian and late pianist Hod O’Brien) gives one theimpression that she is still searching for her musicalidentity. She started out as a very talented beboporiented Anita O’Day-inspired singer of standards but
has also ventured into rock, including an entire nonjazz set at last June’s Hollywood Bowl Jazz Festival.
At Monterey she began with a brassy version of “HowLovely To Be A Woman” recalling Liza Minnelli, wasfine on “A Little Taste” and a heartfelt ballad renditionof “A Stranger In Town” and did some heated scatsinging on “I Don’t Want To Cry Anymore” and “You’re
The Dangerous Type”. Her horn players (trumpeter
James Sarno, tenor saxophonist Troy Roberts andbaritone saxophonist Lauren Sevian) were excellent
and pianist Mathis Picard made one want to hear morefrom him. But then Swift switched to rock and it wastime to head for the exit. Too much else to see!
Gregory Porter was his usual impressive self
during his hour-long performance. His voice wasparticularly strong (with many long-held low notes)
and he performed such originals as “On My Way To
Harlem”, “Take Me To The Alley”, “I Do Not Agree”(during which he protested against the negative
messages in so much of today’s pop music) and “ThereWill Be No Love Dying Here”. While Porter tells longstories in his songs, he always has the feeling of
spontaneity and freshness. The best part of his set wasat its conclusion when saxophonist Tivon Pennicott,starting with what could have been considered exitmusic, built up his playing over the closing vamp to acomplete frenzy, screaming high notes and really rilingup the audience like a modern day Illinois Jacquet.
While Elling, Bridgewater, Porter and even Swiftare established crowd pleasers, Samara Joy is the
future of jazz singing. Still just 24, Joy has a beautiful
voice, a full understanding of jazz history, the ability topick out the perfect note for the right moment and an
inspired repertoire. Joined by guitarist Pasquale Grasso(a brilliant player who deserved also to have his ownset), bassist Ari Roland and drummer Keith Balla, she
uplifted such numbers as a rapid “This Is The Moment”,“Can’t Get Out Of This Mood” (sounding a bit likea young Sarah Vaughan), “Guess Who I Saw Today”(making the Nancy Wilson hit into her own with some
impressive high notes), “April In Paris” (singing inboth English and French), Fats Navarro’s “Nostalgia”(with her own lyrics), an uptempo “Linger Awhile”
and a perfectly controlled “’Round Midnight”.
Again Monterey left one feeling very optimistic
about jazz’ future. v
For more information, visit montereyjazzfestival.org

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 13

IN MEMORIAM
Pharoah and I created a lot of great music together.
It was really amazing how Pharoah could get all
those different creative sounds out of his
saxophone. We both wanted to create music thatwould enlighten humanity. I will really miss my“Cosmic Brother”.
—LONNIE LISTON SMITH, KEYBOARDS
Pharoah Sanders was a man of profound depth
and strength…so deep as to seem silent yet able
to maintain the simplicity and purity of hismusical message. He had a powerful presence
and sound. His genius for heartbreaking anduplifting lyrical melodic expression is without
parallel. Pharoah maintained a spiritual qualitythat was always about being Free and that isunderstood in his unique sound and screams.
As collaborators in Heart-Fire Sound, Pharoah
could hear himself in me as I could hear myself inhim. The truth of our relationship is validated in
the music we created together, beginning with his
beautiful album, Pharoah, and later with Rashied
Ali on a number of Anami Music releases, toinclude Spirit World. My work with Pharoah will
always be precious and sacred.
		—TISZIJI MUÑOZ, GUITAR

I’m terribly saddened to hear of the passing of
Pharoah Sanders. He was such a beautiful humanbeing and a great musician. I first met Pharoah in
1965. He was playing in a little restaurant on theLower East Side. He allowed me to sit in with hisband even though he didn’t know me. That’s thekind of person he was. This experience reallyreinforced my desire to make music my life’s
endeavor. The next time I saw Pharoah was in
Boston. He was playing with “The Chief”, John
Coltrane. Pharoah totally blew my mind. Only
Pharoah Sanders could match the intensity levelof John Coltrane. A dream came true in 1973 when
Pharoah asked me to join his band. His band waslike a family. Pharoah was more like a big brotherthan a boss. He allowed every musician to bringhis own contribution to the music. He didn’t try
to control what we played. I love Pharoah Sanders
and his music. I’ll miss knowing that his creative
spirit is no longer with us. Fortunately he left us
with many recordings.
			—CALVIN HILL, BASS

Pharoah was and is the sound of light. Working
alongside the master was truly some of thegreatest Sonic and Spiritual moments of my life.
The sheer intensity of THE sound and Spirit isembedded in my DNA forever. Thank you
Pharoah for letting me and my Sonic Family into
your astonishing Spectral Resonant Cathartic
Calm Lightning life. The work we accomplishedwithin the broad life and breath of the Chicago
Underground-São Paulo Underground - Black
Cube SP - Pharoah and the Underground
Collectives is document and evidence of thisamazing collaboration.
You entered my actual house with such
humbleness and love. Your super naturalawareness sparked waves of trust, even amongstorms of uncertainty that we all experience ashumans in this universe. Your universe of
expansion and contraction… color bursts andprofound Sound illuminated our world withtowering fact. No illusions. Solid inexplicable
loveliness that will live forever. Love to the
Master. Pharoah Forever!
		—ROB MAZUREK, TRUMPET

Those few precious moments with Pharoah
provided a grand inspiration and even reason toreach further beyond the expected moments of it
all, to transcend and to experience the bounty of
its overall truth. I am deeply grateful for theexperience of his person and our music together.
—CECIL M c BEE, BASS			

Pharoah Sanders encouraged me to broaden myavant garde concept to include playing with theemphasis more often on the Major fourth interval. I
was only using the interval of the Major third. We
were then able to improvise together (piano andsaxophone) with a new tonality that included
Eastern, African and Western sound statements. He
explained that he was introducing me to the scalestudies that he practiced daily with John Coltrane.
—DAVE BURRELL, PIANO			

I’ve always qualified greatness by the size of
one’s spirit and heart. Art—or any noble endeavor—is fueled by spirit, which reveals itself throughcourage and fortitude. Heart is what shares and isfueled by love. Love is a verb. It is spiritual
practice. That is what is great. Throughout his life
Pharoah Sanders has exemplified a great truthseeking artist fueled by courage and fortitude
and love. There is a lineage to this music. Its roots
are ancient and it surfaced vividly in the late ‘60s
in the bands of John Coltrane. Pharoah became akey disciple and purveyor of that energy in thatband and went on to make his own uniquecontribution. He has been an inspiration to me
since I was a young man and became a great
mentor to me as well. My own initiation was inpart through playing with Pharoah and I will
forever be indebted to him for that. Safe passage
dear Pharoah. May your journey to the next realm
be swift and easy. With great love and gratitude.
		—FRANKLIN KIERMYER, DRUMS

A sound like no other, connected to the heavens
brought to Earth through a profoundly gifted Blackman from Arkansas we who knew as Little Rock. I
feel very honored to have had the opportunity toperform and record with the great and brilliant
Pharoah Sanders! I fondly remember a performance
we did years ago in the ‘90s with Ari Brown andMalachi Favors at a community drug rehabilitation
center in Chicago. Master Sanders told us all of todig in and follow him on this performance. I
remember seeing light, colors and energy as though
I had been transported into an entirely new
universe. Almost everyone in the audience that day
were in tears of joy, because they knew that they
had just witnessed a true messenger of God coming
through the sound and spirit of the one and only,
Pharoah Sanders! We will miss him forever. Like
his mentor, John Coltrane, Pharoah Sanders’ soundand humble spirit of divine character are etchedwithin the legacy of time, immortal!
I was at Pharoah’s last performance a couple ofmonths ago at the We Ought Here Festival near
London. Brother Pharoah came out majestically on
his chariot/wheelchair and mesmerized an
audience of over 30,000 fans. He conjured theinfinite spirit of music on that glorious day as healways does, just by being all that he has always
been to the people who adore him! Pharoah Sanders,the man and his unforgettable sound, are pure love
eternal! I will miss him deeply and will forever be in
his debt. Bless you Daddy-O, The Creator has a
Master Plan for you, as you Astral Travel!
			

14 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD—KAHIL EL’ZABAR, DRUMSWhen I first started playing, I played with Pharoah.
Probably around 1971/72 is when I first met him,
which was when I was beginning in New York. My
second ever recording was his Pharoah (India
Navigation, 1976) and I would go on to play withhim more than I played with anybody. He was thebaddest cat I ever worked with and I played with a
LOT of cats. Pharoah was my man and I had thegreatest experience of my life. Period. What madehim so special? Pharoah was Pharoah.
			—GREG BANDY, DRUMS

Pharoah Sanders was a spirit and unmistakable
voice with every note as a spiritual movement, inthe world but not of it, carrying on the tradition
of John Coltrane. I’m grateful to have worked onso many projects with him. One of the mostmemorable was a recording with Gnawa
musicians in Essaouira. On the morning of Sonny
Sharrock’s funeral, we boarded a plane for
Morocco and arrived at the hotel made famous
because of Orson Welles. He had stayed there
filming his classic version of Othello. So, every
wall had a picture of him. I remember the nextmorning, Pharoah was playing a melody over andover before we left to go to the house where wewere to record. When we arrived, the Gnawa
musicians were playing a sound that was almost
identical to what Pharoah was playing at thehotel. He asked them where they got the musicfrom and they said, “This is thousands of years
old.” And Pharoah said, “I know this music, it
was taught to me by the Seminole Indians in
Arkansas.” At that moment, Mahmoud Guinia,
the undisputed king of Gnawa, told Pharoah, “We
don’t really like jazz, and we don’t play jazz.”
Pharoah responded by saying, “I don’t play jazzeither. I play avant garde.” The Gnawas looked ateach other and said, “Well, that should be fine.”
And we proceeded to make The Trance of Seven
Colors. His music will endure forever.
			—BILL LASWELL, BASS

I met Pharoah through pianist John Hicks. Johnand I may have been playing at Bradley’s in New
York and we all started hanging out after a set
and talking as Pharoah and John were really tight.
John, drummer Idris Muhammad and I became
the core trio Pharoah heard. We had a European
tour and then recorded the great Africa (Timeless,1987) album. Pharoah was probably one of thebest bandleaders I ever worked for on quite a few
levels, from how he treated his band with respect
and financially speaking, too. He valued what
you brought to the table as part of the creative
process and that’s what he wanted from you eachand every night. There was no pretentiousness
about him: he was straight-up. And the fact is he
was a Libra. If you delve into the history of themusic, 60-70% of the Masters of this music are
Libras: Monk, Blakey, Dizzy, Trane, Bud, Ray
Brown, Tatum….and Pharoah! Where I am in
Buffalo, there is a community that really respects
Pharoah Sanders and we are going to dosomething to honor him. The day Pharoah passed,
I was actually performing as part of their John
Coltrane Festival around Coltrane’s birthday
celebration and I was probably one of the firstpeople who did a tribute to Pharoah on that very
day he passed away, as the news came to us whileon stage. He was often imitated, but never
duplicated. Amazing isn’t an overstatement. His
sound was noble, far-reaching Earth tones in
direct correlation with the universe.
			—CURTIS LUNDY, BASS			

—BILLY HART, DRUMSPHAROAH SANDERS
1940-2022

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

When I think of Pharoah Sanders, John Coltraneof course comes to mind immediately. His
spirituality. I don’t know how that affected
Pharoah the way it did, but I guess it affects us
all really. There was this other world and wayof thinking and/or creating that had and has its
own euphoria. I have heard people use the term“beautiful” where others would use the term“avant garde” or even “weird”, but others will
see and hear this beauty. It’s sort of anadvanced way of thinking I suppose. That’s thething I got from Pharoah. I was so impressed withthis art of Pharoah’s.
Between 1967-69 for some reason Pharoah
was going through a bunch of drummers. The
piano player in his band I had known fromBaltimore, Lonnie Liston Smith, and it was he
who recommended me to Pharoah. At that time,
Pharoah didn’t even know who I was. WhenI got the call to do the gig, I felt this was mychance to play this music that I related to Coltrane.
I didn’t get a chance to play with Coltrane;
I should have but didn’t. So, this was my chance
to get to Coltrane legitimately and in reality. And
it wasn’t just the style, it was the concept of thisreligious, spiritual thing. When I met Pharoah he
had very little to say to me, to the point I was
thinking there was no way for him to be impressedas he never saw or heard me. I thought, “I’m yourdrummer tonight, Pharoah.” It was at Slugs’
Saloon on the Lower East Side. He shook my handand had nothing else to say to me. I didn’t know
if that was his personality or what.
Though we had never met before, I had heard
him with Coltrane on several occasions. And I
had really followed Coltrane, from Miles up tothat period. A lot of people loved Elvin, I loved
Elvin Jones, but when Coltrane went to Rashied
Ali, that’s what I was into and what I wanted todo. So we played this style of music that Rashied
Ali, Milford Graves, Beaver Harris, Andrew
Cyrille and others were playing. That’s where
Coltrane was. With Pharoah, we played “TheCreator Has A Master Plan” and it worked out.
And as it turned out I finished the whole weekwith Pharoah. He complimented me after the firstnight, which started on a Tuesday, though hedidn’t say anything else the rest of the week.
However, that Thursday I came to the club forwork and found a book, a small bible, a missal
placed on my floor tom drum called The ImpersonalLife and it was opened to the chapter “Thinking
and Creating”. Now Pharoah may have not put
it there, but I have no reason to think he didn’t.
It seemed something that would come from
Coltrane. It’s deep and had—and still has—a profound effect on me. I still have that book tothis day. After we finished the week at Slugs’, hesaid to me, “I have a record date if you would liketo make it.” He didn’t say “Could you make it?”,because he knew I was auditioning for this higher
level of music. In some way he knew that we had
this thing in common, this connection.
Fast-forward 50 years later to the record date
I did with organ player Joey DeFrancesco (In The
Key of the Universe) with Pharoah—he
recommended me to Joey—and he still had thosenotes. He perhaps wasn’t as fiery when I firstplayed with him. But those notes are and werestill there. And nobody else has it. It’s very
inspiring to me not only as a musician. It’s really
beautiful and euphoric. Playing with Pharoah,
those notes were still there and as deep as ever.
Notes that nobody else does, even people who are
Coltrane fanatics. I can only relate it to Coltrane,
but it’s Pharoah.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 15

ALBUM REVIEWS

The Latin Side of Mingus
Conrad Herwig (Savant)by Kurt Gottschalk

Bridging bebop and the open forms of the ‘60s, Charles

Mingus’ music often carried a dynamic tension, pulled
between taut orchestration and free exploration. Latinjazz—the lens through which trombonist Conrad
Herwig chooses to view Mingus’ music on his latest
installment of like-genred tributes—more or lessdictates an adherence to rhythm. Herwig makes his
mission clear. The Latin Side of Mingus is anaccomplished album, pursuing the studied, not the
spontaneous, side of Mingus.
Herwig doesn’t go for the obvious—there’s noTijuana moods or Cumbia fusion to be found. Instead he
attempts to reset familiar themes in Latin settings. He
approaches the job with no lack of experience, having
spent time in both the Mingus Big Band and Eddie
Palmieri groups. He is a skilled leader for the project,assembling an octet including trumpeter Randy Brecker
and saxophonist Craig Handy. In addition, Rubén
Blades guests on one track, giving an effective readingin English and Spanish of Mingus’ text (based on Martin
Niemöller’s popular poem “First They Came For…”)
The best tracks bear regular Latin Side associateBill O’Connell’s fingerprints, from his piano on his
arrangement of “Boogie Stop Shuffle” to his tasty
Fender Rhodes on an easygoing rendition of “DukeEllington’s Sounds of Love” to his upbeat take on“Goodbye Porkpie Hat” (co-arranged with Herwig).
But for the most part, there are no great pains taken to
rework themes to the counts. Herwig’s arrangement of“Hora Decubitus” and O’Connell’s arrangement of “Allthe Things You Could Be By Now if Sigmund Freud’s
Wife Was Your Mother” come close, but at five and six
minutes respectively (the shortest of the album’s eighttracks), they don’t relish in it. It is as if they don’t want
to explore the challenge they have given themselves.
The Latin side comes in the percussion and some of thesoloing. A little more molding and shaping could havemade for a more memorable excursion.
For more information, visit jazzdepot.com. Mingus music is
at Midnight Theater Wednesdays and Birdland Nov.
3rd-6th. See Calendar.

UnCHARTED FAITH
Dino Duo (Flying Panda Music)
by John Sharpe

Violinist Jason Kao Hwang and electronics manipulator

J.A. Deane first met in ensembles under the direction of
Butch Morris back in the mid ‘80s. Although originallya trombonist, Deane became deeply involved inelectronic sound generation, being responsible fororiginating the technique of live sampling. After a longhiatus, the pair decided to collaborate remotely during
the pandemic, Hwang from New York and Deane fromrural Colorado. Hwang recorded a series of acoustic

violin improvisations, which he sent to Deane, who
processed them through radical shifts and mutations,
before sending them back for Hwang to overdub withelectric violin. The result are six pieces that pile on thedrama in a not always comfortable, dreamlike
impression, which can veer into a soundtrack worthyof a gothic horror movie or a sci-fi dystopia. On“Parallel Universe” Deane builds an atmosphericpulsation, somewhere between weather and machinery,
but in later selections he evokes revving motorbikes,
distant church bells and sonorous foghorns, though hecan also hint at something more tangible like a synth
keyboard or gamelan percussion. Electric violin
undercuts the ambience, sometimes humanizing by
reflecting vocalized speech patterns, other times
creating textures suggesting a cross between a mewlinginfant and a meowing cat.
While most cuts function as expansive explorationsof mood and sound, the near 20-minute title track doesthat and more. It is one of only two pieces on which
Hwang multi-tracks his instrument. Deane’s initial
setting calls to mind a melodeon wash, against which
staccato violin plucks stand out. As Deane orchestrates
jagged thunder, violin writhes like the cries of avenging
spirits, before etching mournful lines against adarkening sky. At the end violin spirals upwards into
the stratosphere, conjuring the transmigration of souls.
Fanciful maybe, but there is a poignant twist. Even
before the project began, Deane knew he was terminallyill, though he didn’t reveal this to Hwang until after
completion to avoid coloring his contributions. He died
before the album could be released, but it stands as areminder both of his singular talent and a long friendship.

(“Palaver”) to brooding (“Wraith”). “Bypass Decay”
is of special note, chugging like a train against (andultimately losing to) an encroaching night. Throughout,
Smith speaks (e.g., “Spiritual is 150”) and sings (e.g.,“Organum”) in equal measure, but always witha message to convey in the role of griot, reminding us ofsomething spiritual, though severed from any particular
tradition. As is evident in “Orion Ave”, where the freefloating hymn reigns supreme, faith walks these empty
streets alone, trailing its shadow like a burden of care.
For more information, visit redhookrecords.com. Smith is at
Roulette Nov. 3rd as part of Interpretations and 15th with
Sylvie Courvoisier. See Calendar.

BAR BAYEUXCOCKTAILS, WINE, CRAFT BEER,
1066 NOSTRAND AVENUE - BARBAYEUX.COM

Tuesdays: 8 pm-12 am Jam Session with Diego Voglino
Wednesdays: 8 & 9:30 pm
Otis Brown III (Nov. 2nd)
David Berkman (Nov. 9th)
Michael Bates (Nov. 16th)
Matt Mitchell (Nov. 30th)
Thursdays: 8 & 9:30 pm
Adam Kolker, Jeremy Stratton and guests
5 - 7 pm Happy Hour with Marta Sanchez
Fridays: 8 & 9:30 pm
Emi Makabe (Nov. 4th)
Zach Lapidus (Nov. 11th)
Troy Roberts (Nov. 18th)
Saturdays: 8 & 9:30 pm
IN FLUX: Ravi Coltrane, Luis Perdomo,
Drew Gress, EJ Strickland (Nov. 19th)
Santiago Leibson (Nov. 26th)
6 - 7:30 pm Adam Kolker Duo Series

For more information, visit jasonkaohwang.bandcamp.com.
Hwang is at 411 Kent Nov. 2nd and Clemente Soto Velez
Cultural Center Nov. 5th with William Parker. See Calendar.

R Simon Tan–Sacred Fire of the Free (FMR)
Coughlin–Dedicated to Youe • Joe(Cellar Music Group)
Danko–Rite Notes (SteepleChase)c •• Harold
Kaja Draksler/Susana Santos Silva–
Grow (Intakt)o • JoeFiedler–Solo: The Howland Sessions 		m (Multiphonics
Music)•
LaurenHenderson–Lam • Steve Lacy/Evan Parker–Bruja (Brontosaurus)
Chirps (SAJ/FMP--Corbett vs. Dempsey)e • Joe
McCarthy’s New York Afro Bop
n Alliance
Big Band–The Pan American
Nutcracker Suite (Angelface)d • Hedvig Mollestad/Trondheim Jazz Orchestra–
Maternity Beat (Rune Grammofon)e • JoshPredicate Quartet–d FourSinton’sFreedoms (Form Is Possibility)• Christian Bucher/Rick Countryman/

Two Centuries
Qasim Naqvi/Wadada Leo Smith/Andrew Cyrille(Red Hook)by Tyran Grillo

Two Centuries is the second album from former ECM

producer Sun Chung’s Red Hook label and it may one
day be regarded as its most defining release. As
electronic musician Qasim Naqvi, trumpeter Wadada
Leo Smith and drummer Andrew Cyrille put 11 ofNaqvi’s tunes under their triangular microscope, thecells of our listening are magnified.
“For D.F.” opens with a political charge. Written for
Darnella Frazier, who captured George Floyd’s murder,
it uses distortions to evoke the white noise of ourcollective trauma. As subtle as this music is, with its
near-comforting swells and honest lyricism, it offers nota moment of reflection but the reflection of a moment, avivid gaze at a life lost on the brink of a society inturmoil. This is, perhaps, the deepest nuance of thetitular centuries, the dividing line of which is drawn not
numerically but on the shifting sands of justice.
What follows is a veritable tilling of melodies
made possible as much through listening as playing.
The foundation is often forged between Cyrille’s tools
and Naqvi’s febrile choices of color. In fortifying eachfor harvest, they dip into disparate references. Hear,for example, the influence of Bryn Jones in “Sadden
Upbeat” while “Tympanic” recalls Sofia Gubaidulina’s
String Quartet No. 4.
Contrasts in mood abound, ranging from sunlit

16 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

Laurence Donohue-Greene, Managing Editorn • Angles–A Muted Reality (Clean Feed)e • Michael Blake–Combobulate (Newvelle)Gråwe Quintett–New Movementsw • Georg(FMP-Corbett vs. Dempsey)
r
e
l
e
a
s
e
s

• Neal Kirkwood–Piano Stories (s/r)• Daunik Lazro, Jouk Minor, Thierry Madiot,
David Chiesa, Louis-Michel Marion–
Sonoris Causa (NoBusiness)• The Paxton/Spangler Septet–
Ugqozi (Eastlawn)• The Pyramids–Aomawa: The 1970s
Recordings (Strut)• Horace Tapscott Quintet–Legacies For Our
Grandchildren (Dark Tree)• TOC–Did It Again (Circum-Disc)• Miguel Zenón–Música de Las Américas(Miel Music)
Andrey Henkin, Editorial Director

Living Sky
Sun Ra Arkestra (Directed by Marshall Allen)(Omni Sound)by John Pietaro

This pandemic-era album, recorded summer 2021, by

the Sun Ra Arkestra directed by Marshall Allen, exudes
a half-century-plus of sound heritage universal andcleansing (the label commissioned “music that is healing
in the COVID era”). The seven selections are heard as acomplete work and the listener is drawn in languidly.
There are few breaks and the resultant atmosphericsoundwave in reeds and strings hovers as the transitions
and interpolations land with considerable ease. Texture,
tonality and harmonic centers straddle the free, modaland unquestionably blue. But these are joyous blues
with a decidedly expansive vision.
This is evident right from opener “Chopin”,
wherein the Arkestra reimagines his “Prelude in A
Major”; its gently coursing theme is heard in variations,playing host to gripping saxophone solos. Sections of
mezzo-piano dynamics extend for lengthy stretches,
tethered with near-hidden Arkestra dissonances insupport of outstanding improvisations. This isseamlessly followed by an instrumental take on the
Sun Ra classic “Somebody Else’s Idea”, which dates tothe band’s earliest period. In this new life, the piece,

softly rollicking, builds with Farid Barron’s neoRomantic piano commentary weaving through thehorns’ repetitive melody. Listen, too, for muted
trumpet statements by Michael Ray and Cecil Brooks
and the trombone solo of Adriene Davis, yet the overallmagic remains in the collective.
Standout pieces include Allen’s “Day of the Living
Sky”, its simmer the perfect showcase for the composer’s
kora, and “Marshall’s Groove”, the title of which seems
ridiculously modest given its majestic brass intro andprovocative input from the entire band. Blues-drenchedsolos traded within the saxophones (alto Allen, tenors
Nasir P. Dickerson and Chris Hemingway and baritone
Knoel Scott) with continuous, gripping commentaryfrom the brass, create the perfect score to the sweaty,
smokey joint of old as painted by Ernie Barnes. Note,too, the maddeningly patient groove of bassist Tyler
Mitchell, guitarist Dave Hotep, drummer Wayne
Anthony Smith Jr. and percussionists Ron McBee, Jorge
Silva and Elson Nascimento, causing the inner urgency
to boil over. And the Allen-penned “Firefly”, whichfuses big band balladry with postmodern harmonies, isa special feature for Vincent Chancey (French horn),violinists Tara Middleton and Gwen Laster, violist
Melanie Dyer and cellist Kash Killion. This adventure
closes with the Arkestra’s beloved reconstruction of“When You Wish Upon a Star”, threading the eras to thelush liberation of harmony and the need to believe.
For more information, visit sunrastrut.bandcamp.com. This
group is at The DiMenna Center Nov. 5th. See Calendar.

Dedication
Bruce Barth (Origin)
by Ken Dryden

Californian Bruce Barth has been part of the New YorkBrooklyn Woodwind & Brass is a full service
woodwind and brass repair shop located justacross the East River in Greenpoint, Brooklyn.
We buy, sell, rent and repair wind instruments
and have accessories to match.
We oﬀer short and long term rental for gigs, aswell as school year rentals on all instruments.
88 FRANKLIN STREETBROOKLYN, NY 11222
CONTACT US DIRECTLY BY PHONE OR TEXT:
917-597-1087
PLEASE DIRECT EMAIL INQUIRIES TO:BROOKLYNWB@ICLOUD.COM
WWW.BROOKLYNWOODWINDANDBRASS.COM

jazz scene since 1988. His trio for his 17th album has two
frequent collaborators, bassist Vicente Archer and thelate drummer Montez Coleman, who died at just 48 ofcongestive heart failure in January. The chemistry isapparent, every track having the feeling of a first take.
Barth is an excellent composer. His brilliant,memorable melodies leave a lasting impression and heexcels at shifting the mood from one track to the next.
This date kicks off with “George’s Dance”, named forBarth’s neighbor and crackling with energy. “Courage”
is a breezy waltz and one can hear the influence ofa number of pianists in Barth’s solo, especially Wynton
Kelly. The poignant “In Memoriam” is a moving elegy
with a bluesy air. “Let’s Go” is a robust tribute to
McCoy Tyner, avoiding direct imitation but with
moments where his approach is heard in Barth’s touch.
Archer and Coleman shine with their fieryaccompaniment. “Golden Glow” is lush andimpressionistic with a constantly evolving perspective,
Coleman’s percussive accents coming through even in
the midst of Barth’s intense solo. The jaunty “That’s
How It Sometimes Goes” salutes the late Tommy
Flanagan, capturing the humorous side of the piano
master. “Softly, In A Garden Path” provides a surprisingconclusion to the session, a loping, yet intricate ballad,which best showcases the interplay of this engaging
trio. If Bruce Barth’s music hasn’t been on your radar,give this CD a spin and discover for yourself whatmakes him essential for fans of mainstream jazz piano.
For more information, visit originarts.com. Barth is at Bar
Bayeux Nov. 5th and Bar Lunàtico Nov. 21st. See Calendar.

G LO B E U N I T Y

Conduits
Cath Roberts/Olie Brice (Relative Pitch)
Barionda
Helga Plankensteiner (Jazzwerkstatt)
Juniper
Linda Fredriksson (WeJazz)by Tom Greenland

That brass behemoth, the baritone saxophone, up to

40 inches tall, 20 pounds in weight, requiring a hefty
harness to play, an unwieldy obstacle at airline
baggage checks, is typically relegated to the far rightside of a saxophone section where it doubles the firstalto part or puffs out basslines. But in the right hands,
as shown by three practitioners from England, Italy
and Finland, it is worth its weight in gold.
Cath Roberts and upright bassist Olie Brice, once
confined by COVID quarantine, were pleased to
discover JackTrip, a digital audio application thatminimizes (but doesn’t completely eliminate) the
latency inherent in internet transmissions, allowing
them to collude, musically, in (almost) real time fromthe convenience of their respective apartments situated
60 miles apart in England. Conduits documents three
free improvisations recorded on Jan. 28th, 2021, eachabout ten minutes long, a relaxed but adventurous‘chat’ between friends. “Pipework” opens with
Roberts’ smooth bright sound, with just a hint ofgruffness, building to an engaging plateau ofstuttered/staggered exchanges. “Peering” moves fromferal growls and howls to close mingling of bass andbaritone, like playful sensuous lovers who settle into
‘pillow talk’ after a mutual climax. “Buoyancy
Chambers” resumes the shared intimacy.
With four baritone horns in a group, things could
easily get muddied at the lower end of the soundspectrum, but Helga Plankensteiner’s Barionda (withRossano Emili, Massimiliano Milesi, Giorgio Beberi
and drummer Mauro Beggio) is delightfully clear,
uncluttered, mega-funky. Featuring arrangements ofCharles Mingus’ “Moanin’” and “Hora Decubitus”,
Gerry Mulligan’s “Etude for Franca” and “Bernie’sTune”, Steven Bernstein’s “Mazel Tov”, three originals
and two short free improvs, emphasis throughout lies
on blend and groove. Individual personalities aren’tburied in the collective ebullience: Plankensteiner’s
big bluesy tone (with a delicate vibrato) is loud andclear on “Moanin’” and “Continuum” while Milesi’s
ecstatic proclivities manifest on the latter and title
track, where Emili’s fluid postbop style is also featured.
Linda Fredriksson’s debut Juniper spans the gap
between electronic pop and jazz, the leader enlisting
keyboard players Tuomo Prättälä and Minna Koivisto,
bassist Mikael Saastamoinen and drummer Olavi
Louhivuori to sketch moody electronic soundscapesfor catchy originals. Dividing time between baritone
and alto, Fredriksson, like Cath Roberts, has a gift for
melody, a knack for sustaining excitement over anotherwise repetitious groove via organically unfolding,memorable melodies, knowing just when to ease offof a building, cycling riff into something fresh. There isabundant dubbing and mixing—layers of guitar, voice(infectious humming on “Lempilauluni”) and stacked
horn harmonies—but it is the outstanding alto (on“Neon Light”, “Pinetree Song”) and baritone (on thetitle track and “Nana – Tepalle”) playing lending themusic its vibrant immediacy.
For more information, visit relativepitchrecords.com,
jazzwerkstatt.eu and wejazz.fi

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 17

Jackpot
Brian Charette (Cellar Music Group)by George Grella

There is a book on the vocoder, so why not one on the
Hammond B-3 organ? That instrument, what keyboard
players have heard in it and what they’ve done with itcreated an entire genre of music, one that is heavy on
the jazz but also fits right into the soul, funk and blues
bins. It is also a music that, like film noir, thrives on its
own clichés and, like a trench-coated shamus walking
down an empty street under the night’s rain, thoseclichés are fabulous.
And here is a new album from the contemporary
master of those clichés, Brian Charette. He can reallyplay the blues and lean into strutting funk that comesnaturally out of this music, but also has the full rangeof modern jazz harmony under his hands, his solo lines
often extended up an above-the-dominant-seventhchord of the moment into a colorful superposition.
He is also tremendously strong rhythmically; the first
three tracks on this album, “Polka Dot Pinup”, “Tight
Connection” and “Triple Threat” (the whole album isCharette originals) move through blues-funk, classic
swing and a forward-leaning, modern swing-based
rhythm.
With the basslines in the feet, rhythm really sets
the best organ players apart, same with how they workwith drummers. Filling that role here is Bill Stewart, anatural in this kind of jazz, and he and Charette areabsolutely in sync. Rounding out the quartet are tenor
saxophonist Cory Weeds, who has a nice warm, throatysound and attacks his phrases, and the excellent
guitarist Ed Cherry (his name alone is reason to pick
this one up). The latter is also superb in this style, hischords cutting clearly through the spaces the organ
leaves, his solo lines elegant. He seems to be having
more fun than everyone (or, almost more than theleader, but not quite) on an album that is a great listenfrom start to finish.
For more information, visit cellarlive.com. Charette is atWayland Nov. 6th, The Django Nov. 28th and Ornithology
Nov. 29th. See Calendar.

For The Love of Fire and Water
Myra Melford Fire and Water Quintet (RogueArt)
by Phil Freeman

P ianist

Myra Melford has assembled a truly
astonishing quintet for this album: Ingrid Laubrock(saxophones), Mary Halvorson (guitar), newly minted
MacArthur Fellow Tomeka Reid (cello) and Susie
Ibarra (drums). This is a multi-generational avant
garde allstar team: Melford’s career goes back to thelate ’80s while Ibarra and Laubrock emerged in the
mid ’90s and Halvorson and Reid are 21st Century
artists, both having recorded for the first timearound 2002. The saxophonist, guitarist and cellist
have worked together in various combinations in thepast, but this particular ensemble is heard for the firsttime...and hopefully not the last.
Melford’s compositions were inspired by acollection of drawings by Cy Twombly, Gaeta Set (forthe Love of Fire & Water). Though they are untitled, eachof the ten tracks has a connection to a particulardrawing. Those are dominated by red and orange lines
rocketing and squiggling across the square canvases,
with occasional sections of pastel green or gray, whichlook half smudged away. As with much of Twombly’s
work, there is nothing specific to grab onto, just an
emotional vibration to be received and absorbed. The
same is often true of the music.
Many of the pieces have structures that stimulate
the individual members: saxophone lines are tense andfull of coiled energy; guitar erupts like the notes aretrying to escape the fingers that made them; percussion
uses the kit’s elements in surprising ways to hint at
non-Western rhythmic concepts. The first and longest
piece begins with dancing solo piano, gradually joinedby sharply bowed cello and clattering, Tony Oxleyesque drums.
On “VIII”, a showcase for Reid, the cellist plays afierce, Abdul Wadud-esque line as other members of
the ensemble clap out an irregular pattern and Ibarra
thumps and rattles behind her. The melody on “IX”, asplayed by guitar and saxophone, winds around like asquirrel leaping between two poles, piano anchoring it
all. The concluding “X” is a beautiful piano ballad,with Halvorson and Laubrock and Ibarra floatingaround her like guardian angels.

“Pacific Wave” is another very short piece,functioning more as a palate cleanser. Before you knowit, you are already resting in the silence that separates
this short statement from the six-minute title track.
This piece has a more overt reference to folk
traditions that blur the boundary between melisma
and sustain. “Ode” returns to solo voice and it closes
the album. There is roundedness to the cyclical form,
for this album to begin with solo voice and return thereat the end.

For more information, visit roguart.com. This project is at
Roulette Nov. 7th. See Calendar.

show at the historic L.A. venue, the proclaimed“First Lady of Song” had been putting out hits forover two decades. In that same year (towards theend of her commercial peak on the charts), she cameout with the Ella Fitzgerald Sings The Irving Berlin
Songbook, one of several in a series of great American
pop composers. Bandleader Paul Weston backed heron that Grammy-winning record and also performed
with her on this previously unreleased material
found in late producer Norman Granz’ archives.
No surprise that the material is impeccable,
coming from one of the all-time masters of tuneful
sophistication, with most of the songs dating fromthe mid ‘30s, which fits into the 20-year nostalgia
cycle by the time of the show. While the original
album versions have undeniable warmth and a glow
to them, here Fitzgerald’s voice is more immediate
and vibrant while she competes less with the horns
and the arrangements go lighter on the strings.
“You’re Laughing At Me”, “How Deep Is The
Ocean”, “Suppertime” and “Get Thee Behind Me
Satan” remain as heartbreaking ballads, but now
they are more alive and sprightly, showing off her
gorgeous instrument to even stronger effect as she
stretches and bends the end of each line of lyric.
Fitzgerald and Weston even take the uptempo
numbers like “Heat Wave”, “Cheek to Cheek”,“Puttin’ On the Ritz” and “Let Yourself Go” fasterwith Fitzgerald sounding less reserved and more
bouncy and loose. Just listen to her have as muchfun as the big night out told in “Top Hat, White Tie
and Tails”. Only “I’ve Got My Love To Keep Me
Warm” has a studio version to compete with its
high-flying live counterpart.
The only drawbacks are that her famous scatting
is in short supply (only heard on the start and finish)
and that Weston’s horn section blares a little too
loudly towards the end. Otherwise, this is a greatchance to luxuriate in Fitzgerald’s supple, soaring
voice for three-quarters of an hour. If they can go
through Granz’ archives some more, we can gettreated to other such unheard treasures.

Ode
Odeya Nini (Populist)
by Wilbur Mackenzie

O deya Nini began her work as an experimental

vocalist while living in lower Manhattan in the late
2000s. But upon relocating to California around 2010,
she took her work into entirely new dimensions,
expanding into metaphysical territories while
simultaneously establishing firm grounding in apractice rooted in mindfulness. Nini’s practice brings afocus on the shape the voice makes when it goes out
and then comes back. In her work, the reflection ofsound and resonance is a radical giving and sharing.
From the very first moments of the opening“La La”, Nini’s command of the voice is striking. Her
work emphasizes connections with others and thisquality is, paradoxically, quite clearly evoked on thissolo project. The layered multi-track works on Ode areparticularly effective in creating a sense of openness.
This multi-tracking gives the second track, “Double
Helix”, a sense of mystery and multiplicity.
The very brief “See Ma Tou” expands the multitracking further while also introducing somepronounced room ambience. While some pieces on thisalbum demonstrate the influence of innovators like
Meredith Monk, this piece in particular calls to mind
aspects of Joan La Barbara’s work. The sense of space
is profound. “Submerge” further integrates subtle
electronics in addition to the layered vocalizations.
This more drone-oriented piece juxtaposes gesturality
with sustain and drone, assembling a multilayered
tapestry of interplay between more subtle or moredemonstrative fragments.

18 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

For more information, visit odeyanini1.bandcamp.com.
This project is at Tenri Cultural Institute Nov. 9th.
See Calendar.

UNEARTHED GEM

Ella at the Hollywood Bowl (The Irving Berlin Songbook)
Ella Fitzgerald (Verve)
by Jason Gross

By the time of this sold-out, orchestra-backed 1958

For more information, visit vervemusicgroup.com. An Irving
Berlin tribute is at Dizzy’s Club Nov. 20th. See Calendar.

The Couch Sessions
Nicholas Payton (Smoke Sessions)
by Jim Motavalli

W hat a delightful album! Trumpeter Nicholas Payton

has been prolific recently. Smoke Sessions came out lastyear, quickly followed by a remix. And now we have a
totally different project, a “bucket list” trio with bassist
Buster Williams and drummer Lenny White, both at
the top of their game.
Payton’s trumpet is often left in its case, as heexplores both piano and Fender Rhodes. And he isdelightfully swinging on both. The conceit is thatreadings of some classic tunes are accompanied by theauthors talking about the music. So the late Geri Allen’s“Feed the Fire” has her telling us about the uniquesituation of her Detroit jazz mentors, whose days could
include a few hours of funk at Motown’s studio;
fascinating, but the upbeat track would rock on its own.
Payton’s “Bust-a-Move” revels in eclecticism,
opening with Zen chanting (a Payton passion) and thenhitting some mild backbeat à la St. Germain. Fender
Rhodes floats, here and on the whole album, giving it awarm tone. Williams is to the fore and welcome on
Benny Golson’s “Along Came Betty”, a mellow twominute snippet. Herbie Hancock’s “Watch It” is inclassic piano trio territory, with a lovely bass solo. Want

N

U

EW

SE
D

236 West 26 Street, Room 804
New York, NY 10001
Monday-Saturday, 10:00-6:00
Tel: 212-675-4480
Fax: 212-675-4504
Email: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com
LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
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.

yet more Williams? Check out how he leads his own
tender “Christina”. Wayne Shorter’s “Fall” gets us into
the calmer side of Miles Davis’ electric period;
meditation with a backbeat, minus the tension. Payton
on trumpet shows his thoughtful side, as does his
seductive Rhodes work. His “Jazz is a Four-Letter
Word” moves effortlessly from some word jazz/hiphop to a solidly swinging second session.
The spoken word conceit is used sparingly enoughfor it to bear up under repeated listening. Lenny White
talks about Lenny White, too, over his own drumming.
Who wouldn’t want to hear Wayne Shorter and Herbie
Hancock talk about working with Davis (on“Pinocchio” and “The Sorcerer”, respectively), or Keith
Jarrett philosophizing about the piano on “Blossom”?
Special mention must be made of closer “From a
Flicker to a Flame…(for Meghan Stabile)”. This young
impresario produced genre-bending shows before
taking her own life last June. “Jazz is in hip-hop’s
DNA,” she said. Preserving her voice is a fitting tribute.
For more information, visit smokesessionsrecords.com. This
project is at Smoke Nov. 10th-13th. See Calendar.

Yes!!!
Duduka Da Fonseca & Quarteto Universal(Sunnyside)by Dan Bilawsky

Whenever Duduka Da Fonseca encounters somethingthat excites him on social media, he comments with an
enthusiastic “Yes!!!”. The veteran drummer brings thatsame level of encouragement and energy to this firstoffering from the all-Brazilian Quarteto Universal.
Back in the summer of 2021, Da Fonseca met
guitarist Vinicius Gomes and bassist Gili Lopes, bothof whom indicated interest in playing with him. Da
Fonseca suggested bringing one of his closest musicalcolleagues into the mix—pianist Helio Alves—andQuarteto Universal was born. This unit’s sound thenquickly came into view on gigs, finding direction
through the leader’s open-minded guidance while
experimenting with, building and settling on repertoire.
Though the fusion of jazz and Brazilian music isa given—truly a through line in Da Fonseca’s work—
nobody leans too heavily or literally toward the latter
category, preferring to let the music simply flow along
its natural currents. While the spirit of the titular styleis clearly present from the start with Durval Ferreira’s
driving “Samba Novo”, the chattering rhythms
endemic to the piece free everybody from any fixed
perspectives. Dom Salvador ’s “Transition” follows,with Da Fonseca’s scene-setting tom solo paving theway for an exhilarating journey that is anything but
de rigueur. Milton Nascimento’s odd-metered “Lilia”
moves with its own alluring lilt. And Hermeto Pascoal’sballadic “Montreux” proves uniquely compelling.
While this group’s interpretive powers provestrong on material written by Brazilian icons, eachmember makes an impact too. Alves brings the buoyant“Bebe” to the program, Gomes offers the upbeat andvaliant “Exodo” (co-written with Fernando Amaro),
Lopes delivers a peaceable tour across “West 83rd
Street” and Da Fonseca closes the date with hiseffervescent “Dona Maria”. After that thrill ride and thewonders preceding it, all that is left to say is… “Yes!!!”For more information, visit sunnysiderecords.com. Da
Fonseca is at Smalls Nov. 14th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 19

SmileTawanda (Resonance)by George Kanzler

This debut by Tawanda (who, like Sade or Cher, goesby one name) is a wide-ranging showcase for a singer
equally at home with intensely swinging jazz, slow
ballads and the ‘art songs’ that are a staple of cabaret
performers. The co-winner of the ninth Sarah VaughanInternational Jazz Vocal Competition last year, Tawanda
was signed by producer George Klabin, who
collaborated with her on the eclectic choice of repertoire.
The results are highly impressive, confirming that
Tawanda will be a vocal force to reckon with on the jazzand cabaret scene for the foreseeable future.
Harry M. Woods’ “What A Little Moonlight Can
Do” has now become a touchstone for emerging jazz
singers (i.e., José James, Cécile McLorin Salvant).
Tawanda sings it with the trio of pianist Josh Nelson(one of two pianist-arrangers, along with Tamir
Hendelman) in a propulsive swing featuring a virtual
duet with drummer Gene Coye on a first chorus
extended into scat-drums trades before a second chorus
over bassist Kevin Axt. Tawanda sails with swinging
élan over the breakneck tempo. With Hendelman’s trio,
plus guitarist Anthony Wilson and tenor saxophonist
Gene Meek, Cole Porter-Johnny Mercer’s “Out of ThisWorld” becomes a romp, Tawanda beginning with ascat vamp, segueing to scatting over the changes before
singing the verse and chorus, solos from piano, guitarand saxophone and an out chorus mixing scat andlyrics, all with impeccable swing.
Tawanda is as comfortable as a cabaret-style singer
delivering a narrative, as on Sting’s “Sister Moon” and,most convincingly, with a delicate, hymn-like take on
Thad Jones-Alec Wilder ’s “A Child Is Born”. She also
brings an actor ’s sensibilities to Eddie del Barrio’s “I’mOkay”, suggesting she really isn’t by delivering thetitle and “I’m alright” lines slightly off-key.
The 12 tracks offer many surprises, from a flawless
Portuguese language chorus on Milton Nascimento’s“Bridges” to perfect modulations from soaring highnote to hushed intimacy on Jeff Harris’ “Bring Back My
Dreamer” and including rare, welcome revivals of Bill
Evans-Tony Bennett’s “Lucky to Be Me” and Gary
McFarland-Louis Savaryd’s “Sack Full of Dreams”.
For more information, visit resonancerecords.org. Tawanda
is at Birdland Theater Nov. 17th. See Calendar.

Diamonds and Other Jewels
Walt Weiskopf European Quartet (AMM)
by Anna Steegmann

Tenor saxophonist Walt Weiskopf has an impressive

résumé as both leader and sideman. He has worked
with Buddy Rich, Frank Sinatra, Donald Fagen, Boz
Scaggs and Michael McDonald and tours regularly with
Steely Dan. He has led or co-led two dozen albums andwritten seven highly valued books on jazz improvisation.

Diamonds and Other Jewels is the latest release by his
Denmark-based quartet. There is powerful chemistry
among Weiskopf, pianist Carl Winther, bassist Andreas
Lang and drummer Anders Mogensen. Their enthusiasm
is infectious and Weiskopf’s playing, composing andarranging are stellar.
Opener “Spartacus” is fierce and rebellious, driven
by the rhythm section and spirited performances by
Weiskopf and Winther. “Black Diamond”, at nearlyeight minutes the longest track, starts bluesy with
Weiskopf leading a beautiful melody, later moving toa fast-paced adventurous solo. Winther dazzles withhis exquisite playing whenever he takes the lead.
“Thad Nation”, a tribute to Weiskopf mentor trumpeter
Thad Jones, is vibrant and upbeat, opening and ending
with a captivating motif; the swinging middle shows
Weiskopf’s dexterity.
The only standard, Arthur Johnston-Sam Coslow’s“My Old Flame”, is dedicated to another of Weiskopf’s
mentors, alto saxophonist Andy Fusco, who passed
away in 2021 (they were both in the Buddy Rich ghost
band, co-led a date for Criss Cross in 2004 and appearedon each other’s albums). Weiskopf starts with rapid
runs, then slows to a ballad tempo, playing withimmense sensitivity, unaccompanied towards the end.
”Blond Diamond” is more ruminative while “Other
Jewels”, the most gorgeous of all, is a radiant ballad,slow in tempo, melancholy in mood, amazing with its
simplicity and the interaction between saxophone andpiano. “Everybody”, based on Jerome Kern’s “Nobody
Else But Me”, completes the album in a joyful andcelebratory mood. Weiskopf and his bandmates master
this difficult musical challenge with assurance and ease.
For more information, visit waltweiskopf.com. Weiskopf is
at Smalls Nov. 18th-19th. See Calendar.

Música de Las Américas
Miguel Zenón (Miel Music)
by Joel Roberts

Alto saxophonist, composer and bandleader MiguelZenón has long explored the interplay of modern jazzwith Latin American and Caribbean musical traditions.
He takes that exploration even further on his latest
release Música de Las Américas, an ambitious
undertaking paying tribute to the diverse cultures of
the American continent—both North and South, bothpre- and post-colonial—while ultimately questioning
the very notion of what “America” is.
The 45-year-old Zenón, a former MacArthur“Genius Grant” recipient, is joined on this journeyby his longtime quartet of pianist Luis Perdomo,
bassist Hans Glawischnig and drummer Henry Cole,plus several guest percussionists from his native
Puerto Rico. The nine tracks, all originals by Zenón,
cover a huge swath of geographical and historical
territory, but it somehow all fits together within
Zenón’s wide-ranging concept of America.
The vibrant opener, “Tainos y Caribes”, which
examines the clash between two Caribbean cultures
wiped out by colonization, has Zenón belting out
Charlie Parker-like bebop lines over a propulsive Latinbeat. “Navegando (Las Estrella Nos Guian)” pays
homage to Caribbean sailors who navigated solely by
the stars and features the vocals and percussion of theesteemed ensemble Pieneros de la Cresta. “Babula”,
featuring a star turn by percussion virtuoso Victor
Emmanuelli, draws on dance rhythms brought to the

20 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

Americas by African slaves. While a lot of tragedy iscovered over the course of the album, Zenón closes
things on a celebratory note with the exuberant LatinCaribbean dance grooves of “Antillano”, named forthe residents of the Antilles.
For all its weighty sociopolitical concerns, whatmatters most is the music and Zenón comes throughwith some of the most exhilarating performances of his
career. Música de Las Américas is challenging andthought-provoking, but also accessible and engaging,irrespective of its deeper meanings.
For more information, visit miguelzenon.com. Zenón is at
The Stone at The New School Nov. 19th. See Calendar.

DROP THE NEEDLE

I Don’t Worry About A Thing
Mose Allison (Atlantic-Modern Harmonic)
by Pierre Giroux

Cuing up this wonderful LP (reissued in celebrationof the 60th anniversary of its recording), thewhimsical and ironic songs harken back to a simpler
time where pianist/vocalists such as Mose Allison,
Bob Dorough and Dave Frishberg all had a wry yetworldly sensibility in the songs they wrote.
In this 10-track session, Allison (born 95 years
and died six years ago this month) is accompanied
by bassist Addison Farmer and drummer Osie
Johnson, providing stimulating and steadfast
support throughout the quirky lyric structures andvaried time signatures. Allison had not yet committed
to being a full-time vocalist so the program is equally
split between vocal and instrumental tunes.
Side A opens with three numbers that became
some of Allison’s most recorded works: “I Don’t
Worry About A Thing”, “It Didn’t Turn Out ThatWay” and “Your Mind Is On Vacation”; irreverent at
the time, they could easily fit into today’s narcissisticsocial media environment. The remaining tracks on
this side are both instrumentals, the first “Let MeSee”, a riff by Count Basie and Harry “Sweets”
Edison and the other the Burton Lane-Harold
Adamson standard by “Everything I Have Is Yours”.
The former is a simple swinger in which Allison
covers the keyboard in vigorous style while thelatter has Allison in a bluesy frame of mind well
suited to the chord structure and tempo.
Side B has three Allison instrumentals: “StandBy” (based on the chord changes for “Indiana”),“Idyll” and “The Well”. Allison’s piano style isreadily identifiable by its frugality and clipped
single-note phrases with an occasional pianistic
ostentation. The final tracks are vocals done inAllison’s easygoing manner. The sardonic lyrics ofArthur Terker-Harry Pyle-Russel Robinson’s “Meet
Me At No Special Place (And I’ll Be There At No
Particular Time)” are a perfect fit for Allison’s
distinctive storytelling manner. Then, in his own‘jumping jazz’ style, Allison swings out the lyrics of
Irving Berlin’s “The Song Is Ended” in an understated
way without diminishing the song’s meaning. This
reissue is a gratifying reminder of the exuberant andwaggish composer/performer that was Mose Allison.
For more information, visit modernharmonic.com

Eddie Palmieri Presents Sonido Solar
Sonido Solar (Truth Revolution Recording Collective)
by Pierre Giroux

The history of Latin music in the U.S. probably goesback to the mid 19th Century when Cuba was visitedby American composers who incorporated the country’s
musical traditions into their work. Although thelanding point was most likely New Orleans it was notlong before the music traveled up the Mississippi tomore populous centers. The transition to jazz had
a long line of contributors including Mario Bauza,
Machito, Chano Pozo and Chico O’Farrill. But it was
likely Dizzy Gillespie who was the most prominent jazzmusician to gain success in developing modern Latinjazz. Fast forward to the ‘60s, the Palmieri brothers,
Charlie (the elder now deceased) and Eddie (now 85),
both pianists and composers, refined Latin jazz during
their careers to encompass the influence of such jazz
luminaries as Thelonious Monk while looking for ways
to weave styles such as salsa within jazz improvisation.
In this new release, Eddie Palmieri is a mentor toa younger generation of musicians under the rubric ofSonido Solar who play well-known Latin jazz standards
and one original. The release opens with “Almendra”
written by Abelardo Valdés and recorded by Machito
and his AfroCubans in 1945. The group powers throughthe arrangement by pianist Zaccai Curtis, which comesin at over eight minutes, maintaining the melodic
flavor of its historical roots, all the while hewing to thecomposer ’s original intent.
“Mambo Influenciado” is a Chucho Valdés original
with an intriguing melodic line the band skillfully
navigates. Alto saxophonist Louis Fouché andtrumpeter
JonathanPowell
offer
brief
but
knowledgeable solos as the number closes out with
dazzling interplay among the timbales, conga andbongos. The readily recognizable Mario Bauza original“Mambo Inn” has a chart by Powell that clips alongwith brassy vigor through stellar playing from thehorns. The beautiful “Morning” by Clare Fischer isgiven a sympathetic reading by the band led by
Jonathan Powell, along with reflective solos from tenor
saxophonist Jeremy Powell and trombonist Joe Fiedler.
Tito Puente standard “Picadillo” is a feature for
Palmieri. Over the course of this extended chart, hebrings improvisational skills to the forefront over thecool fall jazz series

Nancy Kelly

Wednesday, Nov. 9th 7 pm
$25/cash door $20 min.
Res: www.pangeanyc.com
178 2nd Ave @12th St. NYC

with
Dino Losito / piano
Neal Miner / bass
Joe Strasser / drums

pulsating beat from Luques Curtis (bass), Camilo
Molina (timbales, drums), Reinaldo De Jesus (congas)
and Marcos Lopez (bongos, cowbell). Solos fromtrumpet and alto are rhythmically and harmonically inkeeping with the theme.
The final track, “Suite 176” is an originalcomposition by Palmieri and Fouché and anotherchance for Palmieri to showcase his mastery of the
keyboard. In this vibrant number there is a blistering
piano exchange between Palmieri and Curtis, which
cascades, swirls and swarms over the pulsating
backdrop of the Latin rhythm. An apt conclusion to an
engagement helping define “what’s past is prologue”.
For more information, visit truthrevolutionrecords.com.
Palmieri is at Blue Note Nov. 22nd-27th. See Calendar.

NOV 4 – 5 ROSE THEATERSHADES OF DJANGOWITH STÉPHANE WREMBEL
A musical celebration created by acclaimed French-born
guitarist and composer Stéphane Wrembel featuring
special guests Sam Bush and Cyrille Aimee. From swing
to bebop, impressionism to New Orleans jazz, Shadesof Django pays tribute to the many facets of legendary
musician Django Reinhardt.

NOV 11 –12 ROSE THEATERSTEVE MILLER ON STEVE MILLER:
A BLUES AND ROCK & ROLL JOURNEY
Unusual Trio
Ignasi Terraza/Adrian Cunningham/Esteve Pi (Swit)
by Marilyn Lester

Steve Miller returns to Jazz at Lincoln Center for hisannual concert celebrating his heroes from the great
blues music highway and how they influenced his own
music. Steve Miller on Steve Miller: A Blues and Rock &Roll Journey will feature members of the Steve Miller
Band and special guests from the JALC musical family.

What is so unusual about this trio? The big reveal is

NOV 17–19 THE APPEL ROOM

that there is no bassist. It is not unheard of, but, yes, it isunusual and the result is 14 tracks of fresh, magnificent
music, a set of standards and originals in homage tosome of jazz’ greatest creators. Two Spanish musiciansin pianist Ignasi Terraza and drummer Esteve Pi join
forces with Australian (now New York-based)
globetrotting reedplayer Adrian Cunningham. It is thelatter who is forward on all cuts, mostly on clarinet andflute, with tenor saxophone on the occasional track. His
tenor on “The Man I Love” (George Gershwin) is
particularly close to the melody, the trio creating amoving, evocative dramatic arc in the slow ballad, while
his most expressive and refined playing comes on theDuke Ellington (with Barney Bigard) classic “MoodIndigo”, with voicings deep into the low register.
The opener, “Cakewalk” (Oscar Peterson), is agrabber, portending a totally satisfying listening
experience. The tune also spotlights the “unusual”:
Terraza provides the bassline with his left hand,permitting his right creative free rein on melody. With
“A Handful of Keys” (Fats Waller), Terraza
demonstrates his keen ability to enter a stride-type
mode. Most of Unusual Trio is highly melodic, largely
executed in easy swing mode, such as “Stompin’ at the
Savoy” (Edgar Sampson), Cunningham acing theclarinet in a fresh take rooted in Benny Goodman.
Brazilian bossa rhythms spice up several tunes,
offering Pi a chance to move forward with precise andelegant percussion, most audible on Neal Hefti’s“Scoot”. Three tracks represent the sound of the ‘50s,
an era of modal jazz and lyrical hardbop: “Opus deFunk” (Horace Silver), “Splittin’” (Ray Bryant) and“Thad’s Pad” (Thad Jones). Terraza’s originals are allpleasantly melodic and easy on the ear: “A Free Karma”
is notable for its innovative flute while both “TheHamelin Waltz” and bossa-based “Jo Vinc” feature
sophisticated drumming. The closer, “O Grande Amor”(Antônio Carlos Jobim-Vinicius de Moraes), is amournful, haunting bossa bolero with a delicate vocal
by the CD’s executive producer, Miriam Guardiola.
Unusual Trio is one of those entertaining, gratifying
and downright pleasurable albums calling out to beplayed over and over again, pure joy for the soul.
For more information, visit switrecords.com. Cunningham
is at Dizzy’s Club Nov. 23rd-27th with Wycliffe Gordon.
See Calendar.

JOURNEY THROUGH JAZZ PART II
JALC presents the second installment of its Journey
Through Jazz series, in which the Jazz at Lincoln
Center Orchestra with Wynton Marsalis focuses on andilluminates a theme with musical examples. Along withanother installment later in the season, this concert
reveals why jazz can blend and create communal bonds
with other musical forms and cultures, empoweringanyone who fully engages with it.

DEC 14–18 ROSE THEATERBIG BAND HOLIDAYSThe Jazz at Lincoln Center Orchestra with
Wynton Marsalis continue the ever-popular annual
tradition, playing fresh, swinging arrangements ofholiday classics with special guest vocalist Samara Joy.

STÉPHANE WREMBEL
Photo by Lawrence Sumulong

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

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 21

markedly lyrical and quite accessible, perfect forthree guitars.
For more information, visit bluenote.com and tzadik.com. Lageis at Village Vanguard Nov. 8th-13th with Donny McCaslin
and Roulette Nov. 27th with John Zorn. See Calendar.
View With A Room
Julian Lage (Blue Note)
A Garden of Forking Paths
John Zorn (Tzadik)
by Tom Greenland

S ince he started gigging professionally at 8, recordingwith David Grisman at 11, debuting as leader on
2009’s Sounding Point before his 20th birthday, thenhelming a dozen more releases, guitarist Julian Lagehas steadily expanded and improved his art—as acomposer, improviser, collaborator—until now, at theripe old age of 34, he delivers two of his best-everalbums, View With A Room, his sophomore project forBlue Note with his trio of bassist Jorge Roeder anddrummer Dave King augmented by guitarist Bill
Frisell, and A Garden of Forking Paths, his fifth acoustic
guitar trio date on Tzadik with Frisell and Gyan Riley.
View With A Room is the more personal of the two
albums, electric guitar center stage (panned left in themix) supported by the energetic yet empathetic
accompaniment of Roeder (a bandmate from John
Zorn’s New Masada Quartet) and King. Frisell,panned right, is an equally charismatic presence but
assumes a supportive, coloristic role, offeringreserved but seemly responses to Lage’s direction in
the form of harmonics, open-string drones, low muted
lines, ‘wet’ chiming tones and sparse, tangy chords.
Lage, playing originals (except “Echo”, co-writtenwith Roeder) is a wizard of offhand brilliance: hisphrases rush in early in places you may not expect,
yet his touch remains relaxed; his tone is edgy andbright, his ideas spin out with delicate legato, lacedwith dazzling flourishes; and his mercurial dynamic
range mines the extremes of loud and soft, heavy andlight, often in short succession. With his Telecasterlike sound, adopting and adapting techniques fromcountry, blues and R&B styles, Lage could be playing
the soundtrack to a Spaghetti Western movie set
sometime in the future. Of many fine moments,
standouts are the virtuosic Americana of “Tributary”,
Jimi Hendrix-esque ‘waterfalls’ of “Auditorium”,
dramatic bluesy quavers on the reggaefied“Temple Steps”, intricate chord melodies of “Castle
Park” and free-form polytonal structures of “LetEvery Room Sing”.
A Garden of Forking Paths, a tribute to Argentine
philosopher Jorge Luis Borges follows Zorn’s
Christian mystic trilogy (Nove Cantici Per Francesco
D’Assisi, Virtue, Teresa De Avila) and Parables. Here
Lage is one third of the ‘string section’ alongside
Frisell and Riley, his otherwise distinctive touch
blending anonymously with the other acoustic
guitars, no featured soloists. Zorn’s pieces are the‘stars’ and though some employ open-string ‘cowboy
keys’ like G and D Major, the music never stays put
for long, modulating to less guitar-friendly keys likeD-flat and F-sharp, taking the guitarists out of theirmore habitual, easy-to-hand moves into less familiar
turf. Amazingly, their ringing tones make it sound as
if everything is played in an open-string key (or witha capo). The rhythms often utilize triplets, odd meters,
combinations of threes and twos, the harmonicprogressions lingering on some chords, racing
through others, creating slow-moving, throughcomposed sonic pastiches. The contrapuntal sections
are wonderful, especially on “Riverrun”, a sort-of
canon, and “The Secret Mirror”, containing (Igor)
Stravinsky-like pulsings. “The Forking Path” is themost improvisational track, reaching an ecstatic
climax. Despite its complexity, Zorn’s writing is

22 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

MBeforeMichael Bisio/Karl Berger/Mat Maneri/Whit Dickey(TAO Forms)
by Robert Iannapollo2022 has been a banner year for bassist Michael Bisio

with the release of four stellar recordings: a remarkablesolo album (Inimitable), his third duet with pianist
Matthew Shipp (Flow of Everything) and two quartet
sessions, The Sweet Spot with Joe McPhee (saxophones),
Fred Lonberg-Holm (cello) and Juma Sultan (percussion)
and, now, MBefore with longtime associates in Mat
Maneri (viola), Karl Berger (vibraphone)) and Whit
Dickey (drums). While all have played together atvarious times, this is the first time in this configuration.
But, unsurprisingly, they sound like a seasoned unit.
The music is mostly by Bisio, along with two Berger
compositions, a standard and a group improv.
“AC 2.0” begins as a dialogue between Bisio andManeri, Berger and Dickey gradually filtering in todevelop a dense group sound, which has a nice flow
with an abrupt pause for good measure. “Sea V4 WS”
is in two parts, presented in reverse order; it is unclear
why, but they work as two separate entities, each wellplaced in the sequencing of the program.
The one standard, Jule Styne-Sammy Cahn’s“I Fall In Love Too Easily”, is slow and hauntingly
abstracted, viola to the fore, giving the theme deep
resonance. Berger’s pieces bring diversity to theproceedings: “Crystal Fire” is a smartly bopping headwith all four pushing things, Bisio driving with aneffective walking bassline, while “Still” is a moody ballad
given a well-considered reading from all involved. And
the final track “Um” is a solid demonstration of free
improvisation from four masters. Bisio has assembled aperfect quartet, rounding out one more fine year forsomeone releasing quality music for decades.
For more information, visit taoforms.bandcamp.com. Bisio
is at Roulette Nov. 28th with Kirk Knuffke. See Calendar.

Midnight Crisp
Takuya Kuroda (First Word)by Elliott Simon

Trumpeter Takuya Kuroda enlists tenor saxophonist

Craig Hill and trombonist Corey King for superb
ensemble playing against all matter of funky rhythms
on Midnight Crisp. Compared to Fly Moon Die Soon
(First Word, 2020), it is lighter on hip-hop and truer to a‘70s jazz-fusion essence. Although this septet coalesces
around melodically accessible compositions and a tightbrass section, Kuroda does not minimize the beat andbassist Rashaan Carter, drummer Adam Jackson andpercussionist Keita Ogawa are rightfully up in the mix.
Kuroda has drawn up great contemporary
arrangements true to their funky soulful influences
without straying too far from jazz. They give themusic its breadth and depth and free the musicians.
Throughout these six tunes, however, it is Takahiro
Izumikawa who brings the magic on an assortment ofkeyboards, embracing and shaping the rhythm andbrass sections through deft use of chords, runs, changes
and overt direction. He ensures that they maintain acohesive musical statement.
The opening title cut is a bass-driven opus
showcasing the band’s rhythmic and melodic strengths
while “Time Coil” is tribal dance music with aJapanese tinge. “It’s Okay” slows down the pace and isa vehicle for individual players before it evolves into asweet groove. “Dead End Dance” is ploddingly quirky
whereas “Old Picture” is touching pathos beautifully
portrayed by Kuroda’s clear diction and tone. Closer“Choy Soda” is a propulsive genre-bending trip
featuring King’s R&B-influenced vocals and searing
trumpet that propels a hot groove. With Midnight Crisp,
Kuroda has produced a wonderful session marrying
old-school vibe with contemporary attitude.
For more information, visit firstwordrecords.com. Kuroda isat Public Records Nov. 29th. See Calendar.

Live in Italy
Alan Pasqua/Peter Erskine/Darek Oles (Fuzzy Music)
by Marco Cangiano

Drummer Peter Erskine is widely known among themore fusion-oriented circles for his long association
with Weather Report and Steps Ahead, but he is a hellof a jazz drummer. His acoustic trio with Los Angelesbased pals Alan Pasqua (piano) and Darek Oles (bass)
dates back quite a while but has regrettably remained
under the radar screen of a wider jazz audience. This is
as classy a set as it gets, each tune taken at a deliberate
relaxed tempo, allowing Pasqua and Oles to cherry pickeach note while Erskine pushes them with subtlety.
Pasqua in particular seems to have found his comfort
zone in this trio after a diverse career.
The program could not be more congenial, mostly
exquisite originals and a couple of standards, Dizzy
Gillespie’s “Con Alma” and Django Reinhardt’s“Nuages”, both treated with utmost respect andreaching a level of intimacy rarely heard in a live
recording, including the drum solos. But intimacy runs
aplenty in this well-recorded concert, which theaudience seems to appreciate increasingly as it unfolds.
Pasqua contributes five pieces. Opener “Agrodolce”
starts with a pensive intro leading to the main theme,
bass and brushes joining almost from nowhere andlifting the tempo softly then slowing down for Oles’
heartfelt solo. A shift from brushes to sticks accompanies
an increase in volume, added dynamics and a feeling ofsuspension before wrapping up the delicate theme.
And this is only the start of the show.
Of other Pasqua pieces, “New Hope” is a very
pleasant ballad stripped down to its core; “Old School
Blues” picks up the pace, Erskine displaying his fullarsenal in his solo and behind Oles’ impeccable
walking; and “Turnaround” is a relaxed swinger
entering into early Keith Jarrett folksy territory. Also ofnote are Oles’ two contributions: “Snowglobe”, anothercontemplative tune, and “Honeymoon”, where thegroup plays with a sort of restrained exuberance.
Erskine’s “Three Quarter Molly” conveys once again asuspenseful atmosphere that stimulates Oles andPasqua into taking their time while the composer adds
dramatic tension in his spare playing and solo. “Dear
Chick”, Pasqua’s lovely dedication to late pianist
Corea, wraps up a very successful concert.
For more information, visit petererskine.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 23

waltz “Bystander” the kind of melody that sticks in thelistener ’s mind while giving the soloists lots ofpossibilities. Perry’s playfulness comes out in rousing
Johns to the forefront with his swinging breaks.
McClure’s hip title track is a perfect closer, alternating
between brooding bop and a Latin vibe, with the leader
contributing a subtle, all too brief solo as its centerpiece.

NightQuest
Ron McClure (SteepleChase)by Ken Dryden

For more information, visit steeplechase.dk. McClure is at
Smalls Nov. 10th. See Calendar.

Bassist Ron McClure turns 81 this month and hasn’t

lost a step. After nearly six decades on the jazz scene,
McClure is recognized for inventive improvising,creative compositions in a wide variety of settings andimmaculate tone. This session with tenor saxophonist
Rich Perry, pianist Michael Eckroth and drummer
Steve Johns is a celebration of the withdrawal of
COVID-19 restrictions, which kept New York-based
musicians like McClure unable to perform for far too
long. Perry is a frequent collaborator of the bassist anda prolific leader himself for SteepleChase while Johns’
discography includes recordings with George Russell,
Billy Taylor and Sonny Fortune. Eckroth is the risingstar of the group, obviously making an impression on
McClure as he contributed three originals to the date.
McClure has often stated his preference for songs
with great melodies and harmonies. He gives a lot of
the solo space to Perry and Eckroth, sticking mostly toa supporting role. All of the tracks have their appeal,
but there are a few highlights. McClure’s bluesy“Talkin’ Turkey” would be at home on a soul jazz date,giving his solo a potent groove to set up Eckroth. The
latter shows promise as a composer, his leisurely jazz

Sparkle Beings
Angelica Sanchez (Sunnyside)
by John Sharpe

Pianist Angelica Sanchez recruits a starry cast for

Sparkle Beings. Bassist Michael Formanek has been a
fixture of her trios for several years alongside a
revolving cast of drummers, that seat being taken thistime by veteran Billy Hart, whom Sanchez first met
while she was still a teenager. They combine on a
program alternating a series of four astutely chosen
and unusual covers with three group inventions.
Sanchez’ achievement is that, in spite of the disparate
sources, it all sounds 100% Sanchez, as well as engaging.
What helps foster that cohesion is the attention
Sanchez pays to on-the-fly structure. On display

24 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

everywhere is her synthesis of now dazzling, now
pensive lyricism with a muscular post-Cecil Taylor
angularity. She employs insistent patterns as unifying
devices to anchor the freewheeling communion,
especially notable at the close of “Phantasmic Friend”,
a piece which begins in meditative territory, before
Sanchez’ incessantly unspooling runs take flight.
The title cut is the apogee of this approach, as it
evolves from a purposeful solo introduction by Hart
through intricate staccato dialogue between Sanchez
and Formanek into a passage of emphatic chording
and an extemporized flow of reiterated motifs. Hart’s
unaccompanied spot is also the best place to appreciate
his creativity as he contrasts cymbals, which whisper,
crash and shimmer, with tuneful drum cadences. He
uses such timbral command to add color, shade andnuance to the interplay throughout. Formanek provides
equally sensitive accompaniment, but also so muchmore, as his nimble contrapuntal lines relentlessly
complement Sanchez’ trajectory.
Mary Lou Williams’ knotty “A Fungus Amungus”,
her response to the ‘60s New Thing, acts as an energetic
and percussive opener. You could expect a piece by
Cecil Taylor to display similar virtues, but Sanchez’arrangement of “With (Exit)” instead draws out thedrama inherent in the material rather than the fire. Feelis also paramount in “Preludio A Un Preludio” by
Mexican composer Mario Ruiz Armengol. But it is the
finale, melding Sanchez’ febrile “Before Sleep” withthe celebratory dance of Duke Ellington’s “TheSleeping Lady And The Giant That Watches Over Her”,
which so jubilantly reinforces the sparkle of the title.
For more information, visit sunnysiderecords.com. Sanchez
is at The Jazz Gallery Nov. 5th and Clemente Soto Velez
Cultural Center Nov. 11th. See Calendar.

Live at Hostos Center for the Arts & Culture

Hostos Comunity College / CUNY
450 Grand Concourse, at 149th Street
Bronx, NY 10451
to 149th Street & Grand Concourse

TICKETS & INFO:

718-518-4455 | hostoscenter.org@hostoscenter

Let’s Save The World Suite
Gene Pritsker’s Sound Liberation(Composers Concordance)
by John Pietaro

G ene Pritsker is the kind of left-wing composer who

proliferated in the 1930s within organizations like theJohn Reed Club and its offshoot, the Composers
Collective of New York, which boasted the talents of
Aaron Copland, Elie Siegmeister, Marc Blitzstein, Ruth
Crawford, Charles Louis Seeger, Henry Cowell andother modernist radicals. Pritsker, founder ofComposers Concordance, has often featured messagesof social justice within his work and uses activism as
inspiration for compositions and albums.
Pritsker ’s muse is a restless one and through it hevery successfully balances the roles of artist andmilitant, contemporary composer and free improviser,
guttural rocker and aerial jazzer. The seven-movement
Let’s Save The World Suite is realized by his Sound
Liberation ensemble, the band name recalling Charlie
Haden’s Liberation Music Orchestra, but the suite’s
title recalling “Change the World”, The Daily Worker
column by Mike Gold. Even with so much history
inherent, this suite is based on the poetry of “proserpoet-performer” Erik T. Johnson, whose words anddeclamation are utterly contemporary. Behind andthrough Johnson’s powerful spoken word performances(on three movements), Pritsker ’s music soars, testifies
and exemplifies the struggle.
The work opens with a gripping prelude,commencing with a haunting, mildly atonal guitar
intro and the somber melody heard via resounding
trumpet (Franz Hackl) and tenor saxophone (PaulCarlon). This edition of Sound Liberation is roundedout by Jose Moura (electric bass) and Damien Bassman(drumset) and, of course, the central voice of Johnson.
He enters, proclaiming:
Listen honey, there’s not enough pain in the world.
If there was someone would notice,
Do something about it, give it a pulpit,
Found it a faith, pay dearly to take its name in vain;
Then in reason, overthrow it…
The music, in kind, attaches itself to his reading,coating word and breath, until the melodic content
seems to transform into the speaker ’s own voice. This
opening line becomes the title of the suite’s second
movement, one built on an early ‘70s groove. Carlon
takes the first solo of the set, far too briefly, resoundingin old-school Blue Note as much as R&B, culminating
in a harrowing guitar improv, rapid-fire fretwork,
squealing octave-leaps and distortion claiming thepiece as something post-Altamont. An instrumental
interlude follows and the quasi-bossa rhythm andopen harmonies of the horns contrast beautifully withthe leader ’s deftly dropped sus chords, bass-laden, theeffect being ominous in the way only the ancient modes
can wield. Part IV, “We Don’t Have Much Time Left”,
has a lingering modal quality raked over a vexing,
funky odd-time signature, which glides from a rough7/8 to a 5/8 and back to common time. It is the righttraverse for poetry, which begins: “The train is waiting
but we’re too poor for the ticket.”Once the improv section takes flight, Pritsker
channels the expressionist soundscapes of Robert Fripp,but one hears John McLaughlin and bits of Jimi Hendrix
too. This sets off the progressive rock and fusion woven

26 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

through the next interlude, biting unisons culminating
in a sizzling, crackling drum solo. However, movement
VI, “Or Pretend to Beauty” slows the atmosphere with athrobbing two-beat recalling Weimar-era Berlin, Pritsker
doing his best plectrum banjo mimicry and Bassman
leaning into toms and snare. Yet with the horns sounding
like a hardbop frontline, the already complex melody
grows outward with rhythmic twists as the work
expands. The album closes with Postlude, a sister toPrelude but with new musical forays and poetry sodarkly speaking to the ages:
Said the man to a woman, said the man to the man,
Went with the children; held them in his hand.
Over cloud black hills, there’s a stream running white;
It don’t slate no thirst or pretend to beauty.
The stream is shut up.
“I’m taking you there,” said the woman to the child.
“The hell you will,” said the man to them all.
Cried the children to the mother; cried the sister to the dead.
Laugh the man to them all; put them
In his hand.
For more information, visit composersconcordance.com.
Pritsker is at Kostabi World Nov. 7th with Kristjan
Randalu. See Calendar.

Multicolored MidnightThumbscrew (Cuneiform)by George Grella

Thumbscrew, at its core, is a groove band, one that isslightly abstract. They don’t play around with harmony
or—much—with form, but with rhythm. That starts
with guitarist Mary Halvorson. See this as a newversion of a classic power trio with the guitar hero in
the front. But Halvorson is a unique musician, a mix of
Wes Montgomery, Marc Ribot, Piet Mondrian, The
Twilight Zone and more. Her weighty sound is theprime rhythmic voice and it is the mix of that, bassist
Michael Formanek and drummer Tomas Fujiwara
becoming both the groove and the abstraction.
The three together are not just playing different
rhythms but different ideas about pulse and style.
There is swing and funk for bass and drums while
Halvorson plays with an emphasis more like Paul
Motian than anything else. The accents come in what
seem to be all the wrong places, almost wrong-footed,
but with space and bounce and she lands right in the
pocket the three are stitching.
This is their seventh album on Cuneiform and inmany ways their best. The material comes out ofa three-week residency at City of Asylum in Pittsburgh
and tracks like “I’m A Senator!” have the exciting
sound of collaboration in real time to make structureand form out of individual patterns and the interplayof that. The logic is almost Monk-like, with Halvorson’s
short phrases and whammy bar hits fitting succinctly
into a handful of beats. Fujiwara also adds vibraphone,which is a superb timbre along with the strings.
In other ways, the music draws away from theband’s strongest points and doesn’t settle ona particular point. Freer tracks like “Shit Changes”
aren’t bad, but in this context sound more likeThumbscrew is screwing around a little. But the good
stuff, like the quietly rocking title track, is winning.
For more information, visit cuneiformrecords.com. This
project is at The Jazz Gallery Nov. 11th-12th. See Calendar.

Picturing the Invisible: Focus 1
Jane Ira Bloom (s/r)
by Jim Motavalli

S oprano saxophonist Jane Ira Bloom’s latest album,

the download-only Picturing the Invisible: Focus 1,
features two long-time collaborators in bassist Mark
Helias and drummer Allison Miller with koto player
Miya Masaoka rounding out the band.
“Walk Alone” starts out on Lonely Street andstays there. Bloom’s soprano might not make it homesafely. Helias and Miller are listening closely andbarely intruding. The former offers an occasional
foreboding bow and pluck and the latter some sparetribal percussion. “Walk Alone” is not an outlier track;“Where the Light Gets In” (through the cracks, says
Leonard Cohen) is more of the same. “RCA” is Bloom
and Helias dialoguing, still in somber mode.
“Daredash” is brighter, however, opening with solo
saxophone playing a catchy figure and segueing into
an intriguing drum session before saxophone reenters,alone, serenading the birds in the trees. The two don’t
actually play together until the piece is half over, butthen they are closely intertwined. Miller and Bloom
are ideal collaborators.
The title piece builds until it is nearly swinging,Bloom playing neat circular phrases, but then it backs
off. Miller ’s always-interesting percussion choices
slowly build it up again, challenging Bloom to playsomething urgent.
Is there a touch of “‘Round Midnight” in “Rowing
in the Dark”? Thelonious Monk left a lot of space in
his music, but not this much! “The Shape of Space” isthe koto feature. The cross-cultural interplay isreminiscent of the quieter portions of Martin Simpson
and Wu Man’s album Music for the Motherless Child.
This is a spare album, with less being more.
The group went into the studio with Bloom’s
compositional outlines, but where the music went issolely the result of the creative interplay among theattentive musicians.
For more information, visit janeirabloom.com. Bloom is
at Roulette Nov. 14th as part of a Jerry Granelli Memorial.
See Calendar.

from those sources in lieu of focusing on originals.
Having cherry-picked a wonderful baker ’s dozen
for this program, Johnson and Ingram left few styles
and stones unturned. The duo deals with themes ofself-realization while broadening harmonic pathways
on the album-opening interpretation of Billie Eilish’s“My Future”. Johnson takes to the sky in wordlessflight following part of her lovely lyrical reading—and before Ingram’s memorable stand—on Frederick
Loewe-Alan Jay Lerner ’s “If Ever I Would Leave
You”. These two offer a welcome taste of jazz-laced
folk while looking back to Joni Mitchell’s Ladies of the
Canyon for “Conversation”. And Johnson’s purevoiced Portuguese and Ingram’s mastery of the 88s
share the spotlight in balance on Antônio Carlos
Jobim’s “Chovendo Na Roseira”.
While both artists primarily look to outside
influences in this joint venture, each finds anopportunity to pull from within: Ingram contributes
the lone original, the evocative “Prelude”; andJohnson pays tribute to her uncle, the legendary Lyle
Mays, with a Portuguese-language rendition of his
familiar “Close to Home” (titled “Quem é Você”).
Those numbers prove to be highlights, which, despite
carrying a slightly different status, completely
complement their neighbors.
In intently listening to the aforementioned
material along with various other standouts—amodel-and-contrafact merger between Gene de PaulPatricia Johnston-Don Raye’s “I’ll Remember April”
and Lennie Tristano’s “April”, an appropriately
heartrending trip through Jimmy Webb’s “Didn’t We”
and the indigo-shaded take of Robert Wells-Mel
Tormé’s “Born to Be Blue” included—it becomesabundantly clear that there is little-to-nothing thisteam doesn’t do well. Having heard Johnson andIngram live in the very recent past, this writer can
attest to their combined gifts and charms.

hand runs over quirky, Monk-ian, left-hand chords.
Then, in suite fashion, the tempo slows considerably
and Irabagon contributes a ruminative solo, followed
by one from Lightcap until tenor returns over anaccelerating tempo paced by cowbell toward afrenzied ending. The other quartet track, “Alliance”,
opens with drum (a cappella) and piano solos, overticking rhythm, before tenor rises up and plays aunison theme with piano, then launching into acompelling solo.
Okazaki brings contrasting styles to his two
appearances. Irabagon’s opening solo cadenza on“Hoodootoo” leads to repeated phrases over therhythm, high-fret chords from the guitar expanding
into rock-like shredding as he and Irabagon mix it up.
“Rising Sun”, marked by racing rhythms, finds theguitar tightly fretted, with steely staccato notes andruns, Mitchell’s Fender Rhodes adding more sonicstrains to the heady mix.
“Mammoth”, the longest track (12 minutes)
journeys from a deliberate, slow tempo marked bytriplets, tenor joined by muted trumpet, throughheavier beats for Irabagon’s solo, leading to doubletime for a piano solo then to a stuck-record likerepeating phrase resolved by a blat-smeared open
trumpet solo before the piece ends with deceleratingbeats behind tenor and muted trumpet. Bass anddrums create a fast, roiling rhythm cum tandem solo
behind trumpet and tenor on “Needles”, which
also showcases paradiddles and press rolls from
Weiss behind the horn solos. The piece ends, like adesert road on the horizon, abruptly while Fender
Rhodes is soloing.

For more information, visit sunnysiderecords.com. This
project is at Mezzrow Nov. 17th. See Calendar.

CD Release Concert for Guitarist/Composer
Margaret Slovak’s New Album BALLAD FOR BRAD
MONDAY, NOVEMBER 21 – 7 PM
THE JAZZ GALLERY
1160 Broadway, 5th Floor, NYC(Between 27th & 28th Streets)
Margaret Slovak – guitar
Harvie S – bass
Michael Sarin – drums

Sometimes two people just click. Such was the casewhen vocalist Aubrey Johnson and pianist Randy
Ingram were paired up for a faculty performance at ajazz camp in 2015. There was clear musical chemistry,leading both to realize that an artistic partnership was
definitely worth pursuing. As Johnson and Ingram
came to know each other better, they discovered they
had an affinity for much of the same music—jazzclassics, Great American Songbook fare, Brazilian
beauties, sophisticated pop—so they opted to draw

THE MARGARET SLOVAK TRIO

Performing Margaret’s Original Compositions

Rising Sun
Jon Irabagon (Irrabagast)by George Kanzler“T hese songs are as expansive as the western US

Play Favorites
Aubrey Johnson/Randy Ingram (Sunnyside)by Dan Bilawsky

For more information, visit jonirabagon.com. Irabagon is
at The Stone at The New School Nov. 19th. See Calendar.

rock formations, roads and skies that inspired them,”
writes Jon Irabagon about his six originals on thisalbum, music inspired by a family road trip throughWestern mountain states in the summer of 2020.
The reed-versatile Irabagon sticks to tenor
saxophone, helming his new quartet of keyboardist
Matt Mitchell (a colleague of his in Dave Douglas’
quintet), bassist (electric and acoustic) Chris Lightcap
and drummer Dan Weiss. Augmenting the quartet on
two tracks each are guitarist Miles Okazaki andtrumpeter Adam O’Farrill.
Aside from one short, centrally placed quartet
track,
Dizzy
Gillespie’s“Bebop”,
renderedconvincingly in the style of the title, the songs here,
more like mini-suites, are indeed expansive.
“Sundance”, the opener, is also one of the mostimpressive tracks. Irabagon jumps into a fast rhythmic
maelstrom of percolating postbop grooves, punctuatedby staccato piano probes, reeling off skeins offerocious tenor choruses with a fervor reminiscent ofSonny Rollins. A series of quick trades between tenor
and piano segues into a Mitchell solo of swift right-

Tickets: (GA) $20; available fromwww.margaretslovak.com or at the door
“Ballad for Brad is a lovely CD – most impressiveof all of Margaret’s recordings thus far.”
Guitarist/Composer DALE BRUNING

CD Available from www.margaretslovak.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 27

NEVER-BEFORE-RELEASED

AHMAD
JAMAL
CAPTURED LIVE IN THE 1960s
Ballad For Brad [with Harvie S, Michael Sarin]
Margaret Slovak Trio (Slovak Music)
by Anna Steegmann

Ballad for Brad is guitarist Margaret Slovak’s fourth

Emerald City Nights: Live at the Penthouse(1963 – 1964) and (1965 – 1966) brings fortha collection of previously unissued recordings byiconic pianist Ahmad Jamal captured live at thehallowed Penthouse jazz club in Seattle, WA withtrios featuring bassist Richard Evans and Jamil
Nasser, and drummers Chuck Lampkin, Vernel
Fournier and Frank Gant. Produced for releaseby Zev Feldman and supervised by Ahmad Jamal
himself all these recordings were transferred fromthe original tape reels and mastered for vinyl by thelegendary engineer Bernie Grundman.

CD, her comeback album following her long recovery
from injuries from a 2003 car accident, which required
eight corrective surgeries over 12 years to regain mostof the use of her right hand. She dedicated this album
to her husband Brad Buchholz’ brave battle withcancer. Slovak composed all ten tracks, plays nylonstring and electric guitars and is joined by bassist
Harvie S and drummer Michael Sarin.
Slovak’s style is distinctive, profoundly personaland expressive. A melancholy mood permeates therecording and the superb chemistry among themusicians produces a gorgeous texture. Alternating
between acoustic and electric guitars, Slovak creates
beauty out of tragedy and triumph. The album openswith “Again”, a gentle and hopeful tune inspired byher second move to New York and life in a small guest
house in the backyard of a Russian family’s home inConey Island. Both “Again” and the final tune “Will
You Ever Know?” feature a fine lead on bass.
The title track opens with exquisite, warm guitar
and is contemplative, bittersweet, emotionallyrestrained and noteworthy for a tender duet between
bass and guitar. “Thirty-Three”, written on her 33rdbirthday when she lived in Portland, Oregon, evokes
the city’s easy-going ambiance and features anexpressive bass solo complemented by sparse drums.
“Song for Annie” expresses a complex dark tale (inspiredby her sister’s mental illness and substance abuseproblems) with persuasive guitar. “Forty-Four” is a
profoundly moving solo guitar piece expressing grief,
loneliness and a search for understanding.
Slovak expressed her hope that Ballad For Brad
would touch people’s hearts and bring comfort in the
midst of our complicated modern lives. She hasachieved that. In the words of guitarist Jack Wilkins,
this is “a record worth listening to over and over.”For more information, visit margaretslovak.com. This
project is at The Jazz Gallery Nov. 21st. See Calendar.

This is the first release of Jazz Detective a new
imprint born out of Deep Digs Music Group, a joint
venture between Zev Feldman and Elemental
Music focused on releasing previously unissued
treasures from jazz greats and unsung heroes.
LIMITED-EDITION 2-LP SETS AVAILABLE NOV 25TH
AND DELUXE 2-CD SETS OUT ON DECEMBER 2ND

Don’t Let Go
Mike Holober & Balancing Act (Sunnyside)by Marco Cangiano

Balancing Act is one of the many projects showcasing“... packed with combustive overlays of rhythm and a connection to musical history so deep andexpansive that, in fact, it foresaw the future.”
Giovanni Russonello

Mike Holober ’s versatility as arranger and composer.
The group was established in 2015 and maintains its
original frontline (alto/soprano saxophonist Dick
Oatts and tenor saxophonist/clarinetist Jason Rigby,
trumpeter Marvin Stamm and trombonist MarkPatterson) while changing the rhythm section (bassist
Mike McGuirk and drummer Dennis Mackrel) andreplacing singer Kate McGarry with Jamile.
Holober describes the album, funded by a grantfrom Chamber Music America’s New Jazz Works

28 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

program, as a 14 song-cycle exploring the “nuancesand complexities of the concept of ‘hope’ in the context
of current social, political and environmental realities.”
It was recorded live at Harlem’s Aaron Davis Hall in
October 2019, shortly before the pandemic broke out.
Compared with Balancing Act’s debut Book of Sigh, thisnew album is more homogenous, perhaps less angularand at times pensive if not even elegiac. Further,
Jamile’s voice sounds better integrated than McGarrywithin Balancing Act’s already wide palette. Finally,
there is more space for Holober ’s piano, including
delightful solo introductions (as in “I Wonder” and the“Don’t Let Go”).
Opener “Breath Deep” aptly sets the scene with abrief brass-led intro followed by a suspenseful piano
interlude leading to the main theme carried by Jamile.
The rest of the group takes over with tasteful solos by
McGuirk and Stamm prior to a return to the main
theme. The remainder of the two-CD set follows similar
high standards while conveying the congenial live
atmosphere: the more boppish “Touch the Sky”
features a tight dialogue between trumpet and piano;“Letting Go” has an underlying bossa nova inflection;and “Smile Slow” with breathy tenor confirms
Holober ’s knack for writing wonderful ballad-likeinterludes. Among the many highlights are the John
Coltrane-inspired “Kiss the Ground” with fierce
soprano cast against drums soon joined by the brass,reminiscent of Africa/Brass; tenor crying in “Four Letter
Words”; and supple trombone in “Necessary” and“Long Way from Home”. Although he does not havemuch solo space, Mackrel’s incisive and yet light touch
underscores a wonderful evening of music.
For more information, visit sunnysiderecords.com. Holober
is at Mezzrow Nov. 30th. See Calendar.

Geometry of Trees
Geometry (Relative Pitch)
AlliumDave Rempis/Tomeka Reid/Joshua Abrams(Aerophonic)
by John Sharpe

Cellist Tomeka Reid has increasingly forged a path thattrucks no limitation. Dates with forebears such as Roscoe
Mitchell and Anthony Braxton have been supplemented
by acclaimed sessions under her leadership and fertile
collaborations. Her stock has risen yet higher with therecent news of a MacArthur Fellowship.
Geometry finds Reid with vocalist Kyoko Kitamura,cornet player Taylor Ho Bynum and guitarist Joe Morris.
Geometry of Trees is the foursome’s third album since2016’s Geometry of Caves. It remains a notably selflesscollective where a group credo of unconventional
technique and taut exchange of sound prevails. Eachmember seems connected in a tensile web of edgy
interaction. At times that can lead to a remarkably
controlled tension, as in the pithy “Re: berth” where
sudden gestures erupt from space as cornet growls reply
to bowed cello oscillations and vocal susurrations, while
elsewhere, as on the exuberant “Spotted Lantern Fly
Attacks At The Water Gap”, the result better resembles
four simultaneous streams in spate. Occasional fleeting
rejoinders, as when Bynum mirrors a phrase by
Kitamura on “Imaginary Donuts”, vouchsafe a keen
listening, which more readily expresses itself in obliqueripostes. Unaccompanied sections are typically concise,although one voice may briefly assume prominence inthe restless flow. Reid features prominently on “Bending
Skies”, inaugurated by her swoops and slurs, where her
poised interplay first with Bynum and later with Morris,seems to lie at the heart of the piece. It is a multifaceted
outing, by turns moody, hectic, hushed and turbulent,but always engrossing.
Also high on empathy is Allium, the second album
by the co-operative of Reid and the Chicago pairing ofsaxophonist Dave Rempis and bassist Joshua Abrams. If
expectations are based on Abrams’ Natural Information
Society or Reid’s leadership records, then listeners could
be in for a surprise as rather than hypnotic grooves, thenine cuts revolve around chamber-inflected textural
improvs. Reid and Abrams’ strings combine especiallywell, whether rippling, sawing or rattling. Adventurous
intent is signaled straight away by the opening “Petiole”,
a restrained scene-setter of wavering drones. In other

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places a nervy energy holds sway, though one witha jazzy slant in no small part thanks to Rempis’ barely
suppressed freewheeling invention. Everyone checks
their ego at the door in a responsive ethos, such that thepieces can feel if not quite composed, then certainly
working towards a common goal. The programming
suggests an arc from the understated and abstract to thespirited and emphatic, although with any number ofdigressions en route. Among the highlights are “Tepal”,
where cello, bass and saxophone blend into a swelling
hum before a subsequent exploration of extreme
timbres; “Anther” a braided colloquy developing from ascratchy undertow; and Rempis’ fragmentary figuresand “Butomissa”, elevated by interwoven string accents.
Perhaps sensing magic at work, Rempis holds back hisentry, but when he does join it leads to a lovely
extemporized elegiac air, with Reid and Rempis at theirmost lyrical.
For more information, visit relativepitchrecords.com andaerophonicrecords.com. Reid is at Roulette Nov. 7th with
Myra Melford. See Calendar.

Folks
Russ Lossing (Sunnyside)by Ken Dryden

Throughout his long career, pianist Russ Lossing has

performed and composed compelling music within awide stylistic range. This 2017 trio session is with twoof his longtime collaborators, bassist John Hébert anddrummer Michael Sarin, both of whom share a musical
ESP with the leader. They anticipate where the pianist
is going while being more than up to the challenge ofcreating unique rhythmic textures in every setting.
Lossing penned several provocative originals
inspired by the typically simple melodies of folk music,
though he explains in his liner notes that the potentialof traditional folk songs should not be underestimated,as they are often launching pads for skilled improvisers.
The lush opener, “Heaven Above”, is the sole
exception, as the improvising takes place in a circularform utilizing a planned harmonic sequence andtempo. The pastoral “Village Folk” has animpressionistic air, conjuring images of gentle winds
blowing through fields of grain, Hébert and Sarin
providing off-center accents to Lossing’s captivatingsong. “Village Folk II” has a similarly slow tempo but
is much more abstract, only reverting to the theme ofthe earlier song at its conclusion. The jagged “Grey”
sounds as if it was improvised on the spot.
The extended work “Country Folk” has abittersweet air suggestive of loneliness or loss, though
the central section of the piece changes the mood with
Lossing’s free-spirited playing. “Call Now” has a hip
swagger with a tension that keeps a listener on edge,a perfect soundtrack for a crime drama. The overlappinglines between Lossing and Hébert make “MountainFolk” shine, as do Sarin’s percussive effects. The wildcard is the dramatic, hard-charging “Lightning Bug”,
which utilizes a repeated uptempo riff as the inspiration
for some lively freeform while bringing drums to theforefront prior to an abrupt conclusion.
Lossing’s intriguing compositions demand total
attention and the adventuresome playing all aroundbring them to life.
For more information, visit sunnysiderecords.com. Lossing
is at Bar Bayeux Nov. 19th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 29

IN PRINT

New Standards: 101 Lead Sheets by Women Composers
Terri Lyne Carrington (Hal Leonard)
Modern Jazz Standards For Guitar
Joel Harrison (Fundamental Changes)
by Tom Greenland

Back in the mid ‘70s, students at Boston’s Berklee

College of Music compiled a self-transcribedcompendium of Great American Songbook andnewer, hipper jazz ‘standards’: The Real Book. Tworecent books hope to update and revise the canon ofsongs enshrined in this jazz improvisers ‘Bible’.
Master drummer and head of Berklee’s Instituteof Jazz and Gender Justice Terri Lyne Carrington’s
New Standards: 101 Lead Sheets by Women Composers
is not only a political grab to put the many longneglected works of female composers into wider
circulation, it is a highly practical anthology of greattunes, ready for the practice room or bandstand. The
efficiently condensed head charts show each song’s
most pertinent specs: melody + harmony; anyessential chord voicings and/or bass parts;
suggested tempos, grooves, roadmapping; andlyrics (if any). Divided by genre (Blues, Bop, Even
8ths, Graphic, Groove, Medium Swing, Odd Times& Mixed Meters, Post Bop, Slow/Ballad, SouthAmerican/AfroCuban/Global,
Three-Four,Up
Tempo, Vocal), all indexed by title/composer, it lets
bandleaders concoct well-paced, varied setlists.
From Lil Hardin Armstrong’s 1922 “Perdido Street
Blues” through works by Mary Lou Williams, Melba
Liston, Toshiko Akiyoshi, Abbey Lincoln, Carla Bley,
Alice Coltrane, Maria Schneider and Geri Allen, up
through very recent titles by Renee Rosnes, Tineke
Postma, Charenée Wade and others (101 songs/
composers, all told), coverage is broad but
refreshingly inclusive, as it is meant to be.
Founder/director of Alternative Guitar Summit
Joel Harrison’s Modern Jazz Standards for Guitar
compiles 64 tunes by 39 contemporary guitarists,
head charts with the same specs as Carrington’sbook (melody + harmony, etc.) but with the crucial
addition of tablature notation. As such it serves asboth a repository of hip tunes by hip guitarists anda method book. Although fingerings and ornaments(hammers, pull-offs, slides, etc.) aren’t indicated, thevisual/spacial information provided by tabs affords
valuable insight into the composer’s creative
headspace. Charts vary: Bill Frisell’s “The Great
Flood” is spare while Wolfgang Muthspiel’s “TheHenrysons” contains three separate guitar parts withdetailed chord voicings. Most songs groove in 4/4,
but Adam Rogers’ “Absalom” jumps from 3/4 to 4/4
to 5/4, Rez Abbasi’s “Up On the Hill” from 7/4 to
4/4 to 3/4 while Miles Okazaki’s “Wheel” obfuscatesconventional metric divisions. David Fiuczynski’s“MiCrOY Tyner” has precise indications for
microtonal pitches. Compared with Carrington’sbook, Harrison’s has less songs overall but over half
the guitarists contribute two tunes. Sheryl Bailey,
Mary Halvorson and Leni Stern are represented inboth books, but not by the same songs.
For
more
info,
visit
fundamental-changes.com

berkleepress.com

andOther Zones
Michael Formanek, Tim Berne,
Craig Taborn, Gerald Cleaver (Circular File)by John Sharpe

O ften when record companies trumpet “The Great

Lost This” or “The Undiscovered That”, it isaccompanied by the sound of barrels being scraped.
However when a musician finds something that merits
attention in the archives, it is time to sit up and takenotice. So it is with bassist Michael Formanek’s Other
Zones, a set of improvisations by his quartet withpianist Craig Taborn, alto saxophonist Tim Berne anddrummer Gerald Cleaver recorded at the same time as
2009’s The Rub And The Spare Change.
The chemistry that made this one of Formanek’s
most potent units shines brighter still in the absenceof charts. The pieces inhabit the same universe as
the tunes, but create their own form in the moment,
hitting a sweet spot of lucidity and invention. At thispoint Taborn and Cleaver enjoyed near telepathic
communication, honed to a tee in outfits like thepianist’s longstanding trio and the cooperative Farmers
By Nature, while Berne and Formanek share a similarly
deeply-grounded backstory. It helps that Formanek’s
fierce propulsion blended with muscular commentary
meshes so well with Cleaver ’s crisp chatter andpulsation and together with Taborn they lock into
mesmerizing grooves as if predetermined as on“Vibrant Tones”, to pick just one example (all the titles
comprise rhyming phrases).
But it is not only in the headlong dash where theirtalents lie, as proven by “Porcelain Thrones”, which isfull of controlled tension. When he is not extemporizing
motifs landing somewhere between riff and melody—
his ruminative refrain on “Evil Clones” appears
seemingly fully formed—Berne proves liable to hit
the extremes, his multiphonic shrieks capping
staggered lines in a formidable solo on the initiallywistful “Metal Drones”. If one test of how well
improvisers work together is whether they negotiate
satisfactory endings, then Formanek’s crew ace thegame. Here the cuts finish as if the product of rigorous
rehearsal; witness how the interlocking layers on“Skipping Stones” gradually reduce until just drums
remain, or in the accomplished bass coda crowning“Solid Bones”.
For more information, visit circularfilerecords.bandcamp.com.
Formanek is at The Jazz Gallery Nov. 11th-12th withThumbscrew. See Calendar.

Quiet Passion
Yuko Fujiyama/Graham Haynes/Ikue Mori (Intakt)
by Jim Motavalli

These three are New Yorkers with roots in jazz andexperimental music. Graham Haynes, the son of
drummer Roy, has placed his cornet and electronics ina dizzying range of music, including early straightahead

30 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

dates. Japan-born pianist Yuko Fujiyama, the ostensible
leader of this recording, had her life turned around byhearing Cecil Taylor in 1980 and his music remains
a strong influence. Mori (electronics, just announced asa 2022 MacArthur Fellow) may be most known forworking with Arto Lindsay in the downtown no-wave
band DNA. Together, they are in a word, free.
The pieces are mostly short, with Fujiyama’s
interjections in Japanese and English. On “Kurikaesu”,
the longest composition, cornet and piano engage inspare interplay, with a gently bubbling electronic bed
and words from Japanese poet Shuntaro Tanikawa.
“Dialogue” also features their contrasting playing. The
short “Whispering Universe” finds Fujiyama goinginside her instrument to play the strings while Mori
provides atmospheric electronics and Haynes getsmoody. “Agitato” is all piano and electronics andnearly violent for a whole minute and a half; here theaforementioned Taylor looms large. Fujiyama has two
piano solos on the disc and they reveal her own dartingand idiosyncratic style. It is a good way to hear thisuncompromising musician, who hasn’t recorded allthat much (and took a long sabbatical between 2000
and 2017).
The first half of “Improvisational Suite” hasHaynes playing through echo effects under busy pianoand electronics. Miles Davis isn’t in the building, but
he is down the road a piece. The second half is far moresparse. The three parts of the title track live up to theirname, full of space and meditative, a touch sad, withthe musicians in various combinations. The long third
segment has all three working together to round out
the disc...quietly.
For more information, visit intaktrec.ch. Fujiyama is at
Roulette Nov. 20th-21st. See Calendar.

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SMALLS JAZZ CLUBIN PRINT
Sweet Nothings (for Milford Graves)
Joe McPhee/Evan Parker (Corbett vs. Dempsey)
The Art of Flight: For Alvin Fielder
Survival Unit III (Astral Spirits/Instigation)
No Questions No Answers
A Pride of Lions (RogueArt)
by Stuart Broomer
Holy Ghost:
The Life and Death of Free Jazz Pioneer Albert Ayler
Richard Koloda (Jawbone Press)by Kevin Canfield

Albert Ayler played the saxophone with tremendous

intensity. This is well-known. But as Richard Koloda
demonstrates in this thoroughly reported biography,
the late musician’s endurance was just as remarkable.
Bassist Mutawaf Shaheed tells the author that heaccompanied Ayler during an arduous pre-show
warmup: “We played for four hours: one song.” Onsuch nights, if Ayler saw a bandmate losing zip, “hewould get behind them with the horn,” Shaheedsays, “and you could actually feel the force of thehorn in your back.” In Holy Ghost, Koloda, an Ohio
lawyer and jazz writer, seeks “to draw attention
away from the circumstances surrounding Ayler ’s
death and bring it sharply back to the legacy he left
behind.” His efforts have yielded a perceptive book.
Koloda doesn’t underplay Ayler’s tragic final
days. He recounts the professional disappointments
and apparent depression that dogged Ayler before his
body was found in the East River 52 years ago thismonth; though an apparent suicide, his death at 34 has
stirred rumors ever since. But Koloda’s focus remains
on Ayler’s creative breakthroughs and setbacks. As all
biographers must, he discusses his subject’s youth andfamily life—Ayler teamed, then split with his
trumpeter brother Donald—but Koloda’s staunchcommitment to Ayler’s music is commendable.
Influenced by New Orleans jazz, his daring ‘60s
musical counterparts and a desire to access thedivine by speaking in tongues through his horn,
Ayler famously took his music “further out thanwhat many felt was acceptable,” Koloda writes. His
book attentively charts Ayler ’s multifarious musicaljourney, from the spontaneous honks and squawks
heard in his soundtrack for the 1964 film New YorkEye and Ear Control to the off-kilter R&B of his 1968
album New Grass. Whether Ayler was, in his words,
playing “geometric shapes and forms displayed
musically” or aiming for relative accessibility, heelicited vastly different reactions from critics andaudiences. He was well-received in Europe, butwhen he returned home Ayler was for a time “largely
barred from playing the New York City clubs,”
which wanted safer music, Koloda writes. An Ayler
album would reliably receive both critical raves andpans. His stated goal remained consistent: to playmusic that evoked “true spiritual feeling or
jubilation,” as Ayler wrote.
Koloda’s book includes many new interviews
and a vast bibliography, no surprise considering, as
he writes in a preface, his book “has been in theworks for over 20 years.” He uses many long
quotations, an approach that occasionally gives
Holy Ghost the feel of a middling oral history. Moreoften, though, this is an engaging biography worthyof the fascinating musician at its heart. Those who
saw Ayler play without interruption for hours at atime never doubted his commitment to his art. Nor
will anyone who reads this admirable biography.
For more information, visit jawbonepress.com

J oe McPhee, who turns 83 this month, is one of thegreat travelers of free jazz, a musician whose innate
lyricism moves freely between reeds and brass
instruments. Over the past 60 years, he has taken initialinspirations from Sonny Rollins, John Coltrane, Ornette
Coleman and Albert Ayler and carried those messages
forward, creating global bands and bonds in theprocess. The pointed communicative focus of his work
is evident from Sweet Freedom - Now What?, his 1994
homage to Max Roach’s Civil Rights projects, to his
collaborations with many significant European tenor
saxophonists of his own generation and beyond,including Peter Brötzmann, Evan Parker, Daunik
Lazro, Mats Gustafsson and Rodrigo Amado. These
three recent releases, covering the past two decades,
represent long-standing partnerships.
Following Chicago Tenor Duets from 1998, Sweet
Nothings for Milford Graves presents a meeting of
McPhee and Parker, this one from the 2003 edition ofChicago’s Empty Bottle Festival. There is a broader
sonic spectrum here, though, with McPhee and Parker
both playing soprano saxophone as well as tenor and
McPhee adding pocket cornet. There’s a sense of deep
breathing and contemplation. “Sweet Nothings 1” hasboth on soprano, taking turns playing long tones
against the other ’s developed melodic lines, theiroboe-like sounds suggesting shehnai master Bismillah
Khan. Their tenors on “2” are deeply reflective,
sustained interaction the result. If the saxophone
matchingsuggests
resemblance
enough,therelationship is even maintained on “3” and “4” when
McPhee matches his pocket cornet with Parker ’ssoprano and tenor. As the performance proceeds,
segments expand and grow in power. There isheightened intensity on “V”, whether the two arematching tenor multiphonics or developing individual
perspectives, Parker with a harder edge, McPhee witha gentler, rounder sound. “VI” finds the two mirroring
and varying each other ’s high-pitched soprano lines,
suggesting birdsong.
First launched 20 years ago, Survival Unit III is atrio with McPhee, cellist Fred Lonberg-Holm andpercussionist Michael Zerang. Recorded at the 2018
Instigation Festival in New Orleans, The Art of Flight isthe band’s first release to present Lonberg-Holmwithout electronics, but it also highlights the trio’s
combination of empathy and expressionism. The fivepart improvisation shifts among leads with supportand ensemble play, solos, duos and trios, but welded
together by a kind of spiritual yearning, a stretching
toward meaning. It is there initially in McPhee’s spiky
trumpet eruptions, then his explosive, broad-toned
tenor, with Lonberg-Holm bending his arco lines toprovide horn-like counterpoint. It is there in Zerangand Lonberg-Holm’s brilliant sonic abstraction, withthe cellist sounding electronic without electronics.
McPhee proceeds with ever-greater fervor, launching“Part III” simultaneously playing raw tenor saxophone
while vocalizing his own duet through the horn,
bridging individual and collective lamentation.
The high points of free jazz possess a kind of
grandeur and A Pride of Lions’ No Questions No
Answers, recorded at Jazzfestival Saalfelden in 2018, isa tribute to the acuity of writer Alexander Pierrepont’s
Bridge project, linking the Chicago and Paris free jazz

32 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

communities. A Pride of Lions is a family given to calm
reflection, but also capable of some mad expressionism.
Here McPhee is occasionally heard in full cry, but
he can also represent structural contrast to longtime
associate Lazro’s flights into chaos and rapture.
The 35-minute “Unanswered Question” begins witha mood-setting confluence of bowed and pluckedbasses (Joshua Abrams and Guillaume Séguron) andspare drum strokes (Chad Taylor) before launchinga series of rich and shifting textures, with both potent
individual statements and strong dialogues by McPhee
on soprano and alto saxophones and Lazro on tenor
and baritone, all of it supported by shifting rhythmic
backdrops. Along the way fresh textures emerge, with
Abrams’ guembri and Taylor ’s mbira invoking Africa.
The special mark of this particular brotherhood is aquotation from Albert Ayler ’s “Spirits”, which arisesin the relatively brief (at 12 minutes) “An Unquestioned
Answer”. McPhee plays pocket trumpet and also
vocalizes through his alto while Lazro openly assumes
Ayler ’s compound voice, singing highs cutting topitch-bending lows. The concluding “Enough”
focuses on an intense and taut dialogue between
the two saxophonists, McPhee on soprano and Lazroon baritone.
For more information, visit corbettvsdempsey.com,
astralspirits.bandcamp.com and roguart.com

Live at Jazzcup
Jesper Thilo Quartet (Stunt)
by Scott Yanow

Dane Jesper Thilo, who turns 81 this month, is a hard-swinging tenor saxophonist who blends together
elements of Coleman Hawkins and Zoot Sims. He has
led over 20 albums, virtually all for European labels
and sticking exclusively to playing spirited swing, andhas yet to let listeners down.
For this 2022 set, Thilo is joined by an excellent
rhythm section of pianist Soren Kristiansen, bassist
Daniel Franck and drummer Frands Rifbjerg. The
leader is heard throughout in prime form, performingstraightahead jazz with passion, fire and creativity
within the genre. The set begins with Matthew Gee’scatchy “Oh Gee” (a blues with a bridge), “Body And
Soul” (during which the tenor shows obvious affection
for the melody) and a cooking “Just Friends”. Thilo
originally began his career as a swing clarinetist and hereturns to his roots on warm renditions of “If I Had
You” and “Memories Of You”.
“Blue ‘N’ Boogie” is taken quite uptempo, “Sweets
To the Sweet” is a feature for Franck, Kristiansen
displays the inspiration of Oscar Peterson on“Tenderly” and Rifbjerg excels throughout on heatedtradeoffs with Thilo. Other selections include a
Hawkins-influenced“Stardust”,
melodic“Like
Someone In Love” and hard-swinging explorations of“I Remember April” and “Lester Leaps In”. The latter
finishes up as “Anthropology” and is followed by achorus of “Montmartre Blues” during which Thilo cutsloose with some surprising high notes.
Thilo, who in Denmark had preceded Scott
Hamilton and the comeback of small-group swing in the
United States, sounds pretty ageless throughout the clubdate. Live at Jazzcup will be a delight for those who love
spontaneous swing-oriented jams on standards.
For more information, visit sundance.dk

La Cave Live Cleveland 1966 Revisited
Albert Ayler (hatHUT - Ezz-thetics)
by Marc Medwin

Seasoned listeners will be wary of the word

“Remastered”. It is the carrot so frequently dangled byrecord companies in front of eager ears ensuring that
we’ll buy a recording already purchased several times
in hope of hearing that trumpet phrase or bassline instarker relief. Far too often, the results are disappointing
and sometimes maddening. Capturing Albert Ayler’s
working group on home turf in the middle of 1966, La
Cave Live, Cleveland 1966 Revisited should be a model foranyone wishing to play the sound restoration game.
Performances now quite familiar come off as brand new.
From its first release, a Jimmy Giuffre broadcast,the engineers working for Werner X. Uehlinger ’s EzzThetics imprint have worked minor miracles, opening
up environments considered irrevocably closed andliberating details seemingly consigned to aural
oblivion. With this release, the game has been changed.
Was there a new source used? It is not mentioned in thebooklet, but from the opening notes of the first disc,one of several versions of the anthemic “Spirits
Rejoice”, the music emerges with a shocking clarityand fullness hardly imagined. Any hardcore Ayler fan
remembers the astonishment and raptures of 2004’s
Holy Ghost, the Revenant set that first brought thismaterial to public attention, but please, listen again!
Pick any metaphor wished about doors opening, veils
removed or curtains rolling back and they all apply
when Ronald Shannon Jackson strikes the snare andcymbals starting at 0:54, a call to arms and a solidstatement of purpose now fully foregrounded. Revel inJackson’s
crystalline
interplaywithviolinist
extraordinaire Michel Samson later, as now, his scalar
torrents and rushing tremoloed cascades can be heard!
Dig trumpeter Donald Ayler as he tears everything topieces on “D.C.” His playing is as much about dynamic
contrast as it is about the emergent freedoms this highenergy aggregate rhapsodizes and, now, each subtle
shift rings as true as the societal changes then so
obviously afoot.. It is a pity that “Zion Hill”’s seamless
transition into “Spirits” wasn’t retained and thatapplause and introductory commentaries are sacrificed,
but Michael Brandli has done everything possible toensure that bassist Mutawaf Shaheed’s wonderful solo

during that transitional stretch ending “Zion” can beappreciated, some of his best work on the set. We arealso afforded the chance to hear the incomparable
Frank Wright’s tenor as he graced the group for one ofthese two evenings. He blasts and entreats his way
through a rousing solo on “Truth is Marching In”,
which Ayler would play to heart-rending effect at John
Coltrane’s funeral, a performance appearing in the
aforementioned Holy Ghost set.
Brandli has brought a unity to the sound allowing
listener focus on the music and on the many transitions
therein. One of this group’s defining traits involves thosetransitions. They transgress and even subvert historicalboundaries, combining elements of improvised music’s
history with then-current modes of performancenarrative, but that sense of unity in diversity also
pervades each piece’s gestures. Each cataclysmic
thunderbolt and molten river of fire music gives way topassages of piquant serenity, almost resembling chambermusic. It is unlikely that this iteration of the April 1966
material will be bettered, so snap it up!
For more information, visit hathut.com

BoomslangRich Halley/Dan Clucas/Clyde Reed/Carson Halley(Pine Eagle)
by Robert Bush

P ortland Oregon-based tenor saxophonist Rich Halley,

who turns 75 this month, has been creating compellingmusic (24 albums as a leader) since his debut Multnomah
Rhythms was released in 1983. Halley is a masterfulplayer who reflects the legacies of Albert Ayler andlate-period John Coltrane alongside more traditional
icons like Coleman Hawkins in his aesthetic, which
manages to scream and swing in equal measure.
Lately he has been doing a lot of trio sessions withhis longtime bassist Clyde Reed and drummer son
Carson Halley. Boomslang adds vital L.A. undergroundcornet player Dan Clucas and the results are sterling
examples of what used to be called “freebop” in the‘70s or “time, no-changes” back in the ‘60s.
Whatever one chooses to call it, this is anastonishingrecording.
Fromthecollectively
improvised opener “Corroboration”, tart cornet
meshes seamlessly with garrulous tenor, underpinned
by woody bass and joyously vituperative drums. On
the Rich Halley original “Northern Plains”, drums
set everything in motion with suitably tribal rhythms,
ratcheting the excitement quotient into a dizzying
dance. Clucas is one of Southern California’s best-kept
secrets and on “Drop Off” (another Halley original)
he delivers a superb, smearing soliloquy before
handing the baton to Reed, whose compact, violent
solo is a definite highlight.
Even though about half of the album isspontaneously composed, there does not seem to be
any diminishing returns when it comes to the sense ofgroup cohesion. The difference between the wholly
improvised and written material is seamless. This
reviewer had to peruse the liner notes to distinguish
one from the other.
“The Lean” is a feature for the lithe and muscular
Reed, who winds through the compositional landscapewith justified confidence. When Halley follows up, one
is struck by the conviction that he should be much
more widely appreciated. The album closes with the
explosive “Quintuplify”, with Carson Halley directing

traffic. He switches gears from a scintillating swing to
a gutbucket funk to an absolutely free aesthetic before
opening up to one more outburst from the elder Halley,
whose sound is bigger than a mountain.
For more information, visit richhalley.com

Live at The Tivoli Gardens 1996
Allan Botschinsky Quintet (Stunt)by Ken Dryden

Danish trumpeter Allan Botschinsky, who died two

years ago this month, was active since the late ‘50s,
appeared on a number of sessions with American
expatriates touring on the continent in the ‘70s andled the fusion band Iron Office in addition to playing in
the Danish Radio Big Band along with other groups.
For this 1996 show at Copenhagen’s Tivoli Gardens,
Botschinsky sticks to flugelhorn, leading a quintet withveteran tenor saxophonist Bent Jædig, young guitarist
Jacob Fischer, plus two better known Danes, bassist
Jesper Lundgaard and drummer Alex Riel. While notclear if the group was assembled for this performanceor was a working band, the musicians had worked
together a number of times in various combinations, so
preparation could be kept at a minimum.
Aside from one original by the leader, it would beeasy to mistake this quintet for a visiting American
band, due to its ability to swing in the extended
renditions of so many familiar American standards
and timeless jazz works. Almost all of the tracks in this2-CD set run between 10 and 15 minutes, giving
everyone ample time to appear in the spotlight.
The burning set opener of Miles Davis’ “Four” ishighlighted by passionate tenor. Botschinsky’s endlessflow of ideas in Jule Styne-Sammy Cahn’s “It’s You Or
No One” is matched by his superb tone. No concert iscomplete without a ballad and the quintet’s soft-spoken
treatment of Bob Haggart-Johnny Burke’s “What’s New”
is a gem, with rich harmonic backing for the soloists.
After an evening filled with memorable moments, thecooking interpretation of Gene de Paul-Patricia JohnstonDon Raye’s “I’ll Remember April” no doubt left theaudience wanting more. If Botschinsky isn’t already on
your radar, this set is a great place to start.
For more information, visit sundance.dk

Celebrating 40 Years of Live Jazz
Nov 10 - Joe Policastro Trio
Nov 17 - Michael Sarian Quartet
Nov 19 - Stew Cutler Trio
Nov 25 - Three Shamans: Phil Haynes, Ken Filiano & Herb Robertson
Nov 26 - Joe Fiedler's Open Sesame
Nov 27 - Joe Fonda Bass of Operation
Nov 28 - Michael Musillami Trio

BopShop.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 33

ON SCREEN

Live at The Promenade Theater in New York City
Abbey Lincoln (Liberation Hall)by Monique Ngozi Nri

It is not clear why this video of Aminata Moseka,

née Anna Marie Wooldridge, known professionallyas Abbey Lincoln, has resurfaced now. Perhaps
Liberation Hall, an outfit that deals with studiorecordings and live performances from heritage
artists, is riding the impact of the award-winningfilm Summer of Soul, which features her with Max
Roach at a summer concert in Harlem. Gene A Davisshot several films he included in a series entitled“Great Women Singers of the 20th Century”. His
comfort zone in and around the jazz musicians andmusic of that era shines through in this documentationof a resplendent 1991 Lincoln performance. This
concert came after she reemerged after a somewhat
fallow period when most of her albums were madefor Japanese and European labels with The World is
Falling Down (Verve, 1990).
The film opens in a darkened Promenade
Theater (it closed in 2006), with pianist James50 years of jazz recordings
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Weidman, bassist Michael Bowie and drummer
Mark Johnson in the midst of a gentle introduction.
Lincoln steps on stage to sustained applause, deckedout in a red chiffon-beaded off-the-shoulder dress
with a matching robe and red feathers at her wrists.
Her hair is in tiny braids and is swept off her facewith a diamante clip that matches her sparklingdiamond earrings and thin necklace. Every detail
seems carefully chosen, down to her red satin shoes.
She launches into “Summer Wishes, WinterDreams”, sitting for the first few lines, perhaps fordramatic effect, then rising while continuing to singand discards her robe. She beams at her audienceand says simply at the end, “I sure am glad to see
you all here tonight.” It is not only Lincoln who is“clean as the board of health”. Her band is also
sartorially elegant, something this reviewer sorely
misses these days.
Her jubilation—if we can call it that for someone
who sings with her intensity—only increases as she
dances through the solos of Weidman and alto
saxophonist Steve Coleman on the next tune, “UpJumped Spring”, the Freddie Hubbard melody towhich Lincoln wrote lyrics: “Hello, my friend
indeed!” The applause is rapturous. This is followedby “A Time for Love”, the beauty of the words
contrasted with Lincoln’s bold facial expressions.
She is joined on viola by Maxine Roach, Max’daughter from a previous relationship. The lattergoes on to open the luscious “Bird Alone” with an
exquisite solo. This bird that flies high and low issymptomatic of Lincoln’s own struggles and wonderat the trajectory of life, but her singing, which many
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34 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

of her lyrics can be heard in the quatrains in ABAB
form: “Bird alone, flying high / Flying through a
clouded sky / Sending mournful soulful sounds /Soaring over troubled grounds” and the repeatedrefrain “You’re a sight of glory”. These lyrics, sungin her plaintive tone, tell the story of a life oftranscendence while the film captures Lincoln on thearc of her ascendancy.
Another reason for this film’s reemergence may
be because the Woman King and Black Girl magic,
sentiments that Lincoln pioneered four decades ago,
are now major trends. After she was introduced to
the world of jazz and jazz musicians, she became awoman warrior in her own words: “The first thing
I did—I just started to wear my hair natural. That
was a crime in 1960, 1957, 1958. A Black woman
wasn’t supposed to show that she had hair like she
had... And I started singing songs that were moresocial. I started writing songs. And I found songs
that would express what was in my heart because,
you know, Billie Holiday was like this. She didn’tsing inane things. She sang about the life that she
lived... It’s the same reason they remember Bessie
Smith—because these were social singers.”
Among other highlights in the film are “You
Gotta Pay The Band”, which should be the theme
song for the music industry, as well as “Brother, Can
You Spare a Dime?”, “When I’m Called Home” andthe closing “I’m in Love”. This film captures Aminata
Moseka at the height of her power and, as such,serves as an inspiration. It is remarkable that there isno memoir, no biography of this great woman.
Perhaps someone will write one now.
For more information, visit liberationhall.com

B OXED SE T

Aomawa: The 1970s Recordings
The Pyramids (Strut)by Phil Freeman

The Pyramids, led by alto/soprano saxophonist

Idris Ackamoor, was a group formed by students
from Antioch College in Ohio. Ackamoor, his thengirlfriend flutist Margaux Simmons and the othermembers of the ensemble were all students of pianist
Cecil Taylor, who was a visiting professor there in
the early ‘70s. But their music, as heard on the three(originally self-released) albums gathered in this set,
was not much indebted to Taylor at all. They tookfrom him the freedom to do whatever felt right tothem and did it.
Lalibela, their 1973 debut, was recorded after thegroup returned from an extended trip to Paris andthen to Ghana. It consists of two extended suites, thesix-part title suite (credited to Ackamoor andSimmons with movements entitled “Sheba’s Dance”,“High Priestess”, “Rock Churches”, “Dialogue of theSpirits” and “Mesenko Nights”) and the three-part“Indigo” by bassist Kwame Asante. Ackamoor andSimmons are the leaders, with another saxophonist(Masai) and two percussionists (Hekaptah andMarcel Lytle) filling out the lineup. The music has
the vamping quality and oceanic, endlesspolyrhythms of Pharoah Sanders’ early ’70s albums
like Summun Bukmun Umyun, but there are
additional, unexpected elements, like distorted,fuzzed-out electric bass, which almost sounds like
Sonny Sharrock’s guitar at times. The music hasenergy and drama and feels both well rehearsed andopen at the same time, like a ritual intended to draw
themselves and the audience out of their bodies
toward some higher realm.
The following year, they recorded King Of Kings,
a more polished and expansive effort. There was, if
possible, even more percussion, most notably Bradie
Speller on congas, but the addition of Jerome
Saunders on piano was crucial. The album includes
two of their patented long tracks, the three-part“Queen of the Spirits” and the 18-minute “Nsorama(The Stars)”, but those are bracketed by the opening“Mogho Naba (King of Kings)” and the closing “My
Africa” and the former could be the single best piecein their discography, a churning gospel-meetsAfrospiritual-jazz workout with absolutely pounding
piano. “Queen of the Spirits” is an extended work fordensely layered percussion, flute, idiophone (aUgandan harp) and chanting, with some powerfulplaying by guest cellist Chris Chafe during its thirdand final movement. “Nsorama” allows Asante to lay
down a repetitive bass vamp as the horns squawk
and caterwaul and eventually, by about the sixminute mark, we are in full free jazz cry. But Asantealso gets a meditative and quite beautiful solo.
The group’s third and final album of their initialrun, 1975’s Birth/Speed/Merging, contains some very
mellow moments, at times almost prefiguring someof what the Art Ensemble of Chicago would do when
they signed to ECM at the end of the ‘70s. The fourpart title suite has an almost Asian feel with lots oftwanging strings and soft, gamelan-like percussion;
Simmons’ flute is more prominent than Ackamoor ’s
saxophone. The next piece, “Reaffirmation”, is also
divided into four sections but offers exactly the
opposite mood; it is a hard-charging trance-jazzworkout with fierce drumming and long passages ofsqualling saxophone. Unlike previous Pyramids
suites, it was assembled in the studio rather thanperformed straight through, with audible edits andsubtle electronic elements and production tricks. The
chanted vocals in the final section seem to panaround the listener ’s head like benevolent spirits.
This set concludes with a half-hour 1975
performance live on KQED, a Bay Area TV station.
The band performs shortened versions of “Jamaican
Carnival” and “Black Man and Woman of the Nile”
from Birth/Speed/Merging and two otherwise
unreleased pieces.
Because The Pyramids released their own
albums, they didn’t get the attention that this reissue
proves they deserved. Their music was in line withother things going on at the time—Pharoah Sanders,
Art Ensemble of Chicago, McCoy Tyner, Alice
Coltrane and even early Earth, Wind & Fire were all
exploring similar ideas—but its ritualistic intensity
and seriousness of purpose make it a must-hear for
any fan of spiritually inclined Afrodiasporic music,
regardless of genre.
For more information, visit strut.k7store.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 35

CALENDAR
Tuesday, November 1• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Arthur Kell Quartet with Brad Shepik, Nate Radley, Allan Mednard

		Bar Lunàtico 8:30, 10 pm $10• Django Reinhardt Festival Allstars: Samson, Stenli and Stefi Schmitt, Pierre Blanchard,
Ludovic Beier, Michael Harris, Antonio Licusati
		
Birdland 7, 9:30 pm $40• Loston Harris/Gianluca Renzi Birdland Theater 5:30 pm $30• Chris Rob and Friends with guests Grand Puba, CL Smooth		Blue Note 8, 10:30 pm $45• Zaid Nasser Trio
Cellar Dog 7 pm $10êIllinois Jacquet Centennial Orchestra: Frank Greene, Freddie Hendrix, Brian Pareschi,
Bruce Harris, Danny Kirkhum, James Burton III, Willie Applewhite, Julius Tolentino,
Matt Hong, Jay Brandford, Andy Farber, Lance Bryant, Carl Maraghi, Jeb Patton,
Clovis Nicolas, Kenny Washington and guest Camille Thurman		Dizzy’s Club 7:30, 9:30 pm $25-45• Pedro Giruado Quartet; Los Hacheros		
The Django 7:30, 10:30 pm• Max Kutner/Kevin Shea; Astro Turf: Sam Day Harnet, Sana Nagano, Zachary Swanson
		
Downtown Music Gallery 6:30 pm• Eduardo Mercuri Quartet
Fiction Bar/Café 9 pm
• Jinjoo Yoo
Hortus NYC 7 pm
• Sunlight: Kevin Sun, Max Light, Chris Tordini, JK Kim
		
Lowlands 8, 9:30 pm• Jihee Heo
Mezzrow 7:30, 9 pm $20
êAmir ElSaffar/Lorenzo Bianchi-Hoesch; Amirtha Kidambi/Matteo Liberatore				
Pioneer Works 8 pm $25• Jennifer Choi/Les Frères Méduses: Randall Avers and Benoit Albert		Roulette 8 pm $30
êMichael Blake
Smalls 7:30, 9 pm $20• Coleman Hughes
Trinity Wall Street 1 pm
• Ben Wendel Quartet with Gerald Clayton, Linda May Han Oh, Obed Calvaire				Village Vanguard 8, 10 pm $40
êDave Kikoski Trio with Matt Penman, Jeff “Tain” Watts
		
Zinc Bar 7, 8:30 pm $35

Wednesday, November 2êMonte Croft Trio
333 Lounge 7:30, 9:30 pmêJason Kao Hwang Human Rites Trio with Ken Filiano, Andrew Drury;

Nava Dunkelman/Chuck Bettis

411 Kent 8 pm $15
Bar Bayeux 8, 9:30 pmêYasser Tejeda
Bar Lunàtico 8:30, 10 pm $10• Django Reinhardt Festival Allstars: Samson, Stenli and Stefi Schmitt, Pierre Blanchard,
Ludovic Beier, Michael Harris, Antonio Licusati
		
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night with Gary Mazzaroppi, Vince Cherico and guests
Pasquale Grasso, Vinny Raniolo Birdland Theater 8:30 pm $30
ê“Tribute to Meghan Stabile: Robert Glasper with Igmar Thomas and Revive Big Band		Blue Note 8, 10:30 pm $95• Tom Guarna; Leandro Pellegrino Café Bohemia 7, 8:30, 10, 11:30 pm $10• Tardo Hammer Trio
Cellar Dog 7 pm $10• Carlos Jimenez Quartet
Chelsea Table & Stage 7 pm $25• Stéphane Scharlé’s OZMA with Julien Soro, Tam de Villiers, Guillaume Nuss,
Édouard Séro-Guillaume
The Cutting Room 9 pm $25• Nation Beat: Scott Kettner, Paul Carlon, Mark Collins, Tom McHugh, Joe Correia,
Fernando Saci, Christylez Bacon, Melanie Scholtz
		Dizzy’s Club 7:30, 9:30 pm $25-45• Jason Tiemann Trio; Eric Alexander Quartet
		
The Django 7:30, 10:30 pm• Maximilian Buttner Quartet
Fiction Bar/Café 9 pmêSteve Cardenas
Hermana 8:30 pmêMali Obomsawin 6tet with Miriam Elhajli, Allison Burik, Noah Campbell,
Taylor Ho Bynum, Tomas Fujiwara The Jazz Gallery 7:30, 9:30 pm $20-30• Richie Vitale
Mezzrow 7:30, 9 pm $20
êMingus Big Band
Midnight Theatre 7, 9:30 pm $65-75
êPete McGuinness with Ted Kooshian, Mark Wade, Scott Neumann and guest
Andy Gravish
Pangea 7 pm $25• Antonio Ciacca
Pierre Hotel 6 pm
• Sarah Elizabeth Charles
Rockwood Music Hall Stage 2 7 pm $15• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15
êEd Cherry
Smalls 7:30, 9 pm $20• Shades of Melba and Benny: TK Blue, Wayne Escoffery, Kuumba Frank Lacy,
Dave Kikoski, Paul Beaudry, George Coleman, Jr.
		
Smoke 7, 9 pm $25• Parhelion Trio: Andrea Christie, Sarah Carrier, Ashleé Miller
		
The Stone at The New School 8:30 pm $20• Ben Wendel Quartet with Gerald Clayton, Linda May Han Oh, Obed Calvaire				Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm• Otis Brown III

Thursday, November 3• Terry Waldo’s Gotham City Band Arthur’s Tavern 7 pm
• Marta Sanchez
Bar Bayeux 5 pm
• Joy Hansen
Bar Lunàtico 8:30, 10 pm $10• Henry Fraser, Camilo Ángeles, Jason Nazary

		Barbès 8 pm $15• Django Reinhardt Festival Allstars: Samson, Stenli and Stefi Schmitt, Pierre Blanchard,
Ludovic Beier, Michael Harris, Antonio Licusati
		
Birdland 7, 9:30 pm $40
êMingus Orchestra
Birdland Theater 8:30 pm $30• Blaque Dynamite
Blue Note 8, 10:30 pm $25• Joe Magnarelli; Mike Camacho Café Bohemia 7, 8:30, 10, 11:30 pm $10• Philip Harper Quintet; Avi Rothbard Quartet
		
Cellar Dog 7, 11:30 pm $10• Timothy Norton Group
Diwine 8 pmêThe Rodriguez Brothers 20th Anniversary Celebration: Mike and Robert Rodriguez,
Anthony Almonte, Ricky Rodriguez, Adam Cruz		
Dizzy’s Club 7:30, 9:30 pm $25-45
êGiveton Gelin
Dizzy’s Club 11:15 pm $15• Tim Ries and Friends; Joe Farnsworth Quartet
		
The Django 7:30, 10:30 pm• Gui Duvignau Quartet
Fiction Bar/Café 9 pmêRoy Hargrove Big BandThe Jazz Gallery 7:30, 9:30 pm $35-45• Hank Johnson Trio with Mike Fitzbenjamin, Gary Smith		Jazz Museum in Harlem 2 pm
• Andrea Wolper Trio with Pete McCann, Kevin Hailey
		
Kitchen at Cobble Hill 6:30 pm• WaHi Jazz Festival: Marianne Solivan
		
Le Chéile 8 pm
• JD WalterMezzrow 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 pmêColin Stetson solo; Elori Saxl
National Sawdust 7:30 pm $25• Eric Yves Garcia
Pierre Hotel 6 pmêInterpretations: Scott Robinson with Elliott Sharp; Wadada Leo Smith with Erika Dohi,
Jordon Dodson
Roulette 8 pm $20• John Eckert
Smalls 7:30, 9 pm $20
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9, 10:30 pm $40-60• Robert Glasper with guests Yasiin Bey, Bilal

		Sony Hall 10 pm $50-75• Scenes from La Ballonniste: Ariadne Greif, Peter Stewart, Lisa Bielawa, Andrea Christie
		The Stone at The New School 8:30 pm $20• Ben Wendel Quartet with Gerald Clayton, Linda May Han Oh, Obed Calvaire				Village Vanguard 8, 10 pm $40• Slovaks in Concert: Kristína Mihaľová, Jakub Šedivý, Keyon Harold, Harish Raghavan,
Martin Valihora; Janoska Ensemble: Ondrej Jánoška, František Jánoška,
Roman Jánoška, Julius Darvas, Arpád Jánoška; Biréli Lagrène
		Zankel Hall 7:30 pm $39-59

Friday, November 4• WaHi Jazz Festival: George Michael and John Albin		
181 Cabrini 5 pmêJohnny O’Neal Trio
Arthur’s Tavern 7 pm
• Emi Makabe Trio with Thomas Morgan, Vitor Gonçalves		
Bar Bayeux 8, 9:30 pm• Birdland Big Band
Birdland 5 pm $30• Django Reinhardt Festival Allstars: Samson, Stenli and Stefi Schmitt, Pierre Blanchard,
Ludovic Beier, Michael Harris, Antonio Licusati
		
Birdland 8:30, 10:30 pm $40
êMingus Dynasty
Birdland Theater 7, 9:30 pm $30
êMichael Cochrane Group with Joe Ford, Eli Asher, Brandon Vazquez, Calvin Hill,
Steve Johns
Bloomingdale School of Music 7 pm
• Robert Glasper with guest Yasiin Bey
		Blue Note 8, 10:30 pm $45• Clovis Nicolas Freedom Suite; Dan Aran		
Café Bohemia 7, 9, 10:30 pm 12 am $20• Akiko Tsuruga Quartet; Carol Morgan Quartet
		
Cellar Dog 7, 11:30 pm $5• Philip Weberndörfer Trio
Chelsea Table & Stage 9:30 pm $20• 37th Annual Alec Wilder Concert hosted by David Amram with Karen Blundell,Daniel Spitzer, Gili Sharett, John Roberts, Ken Kresge, Jason Roberts, Madeline Kole,
Richard Iacona, Robert Levy, Adira Amram
		
Church of the Blessed Sacrament 7 pm $25
êThe Rodriguez Brothers 20th Anniversary Celebration: Mike and Robert Rodriguez,
Anthony Almonte, Ricky Rodriguez, Adam Cruz		
Dizzy’s Club 7:30, 9:30 pm $25-45
êGiveton Gelin
Dizzy’s Club 11:15 pm $15• Conrad Herwig Quintet; Joe Saylor and The Kingdom; Eitan Kenner		
The Django 7:30, 10:30 pm 1 am
• Shachar Haleva Trio
Fiction Bar/Café 9 pm
• Lars Haake
Hermana 8:30 pmêMatt Mitchell/Tim Berne
The Jazz Gallery 7:30, 9:30 pm $30-40• WaHi Jazz Festival: Louise Rogers, Mark Kross and WaHi All-Stars		
Kismat 7 pm
• Marius Ven den Brink/Mikey MiglioreKnickerbocker Bar & Grill 9 pm $3.50
êThe Brighter Crooners: Patience Higgins, Rome Neal, Lonnie Plaxico				
Minton’s 7, 9:30 pm $25• Hannah Marks Quartet
Neighborhood Church of Greenwich Village 8, 9:30 pm• Timothy Norton
Ornithology Jazz Club 9 pm
• Antonio Ciacca
Pierre Hotel 6 pm
• Michael Feinberg Quartet with Sarah Hanahan, Davis Whitfield, JK Kim
		
The Porch 9 pm $10êFareed Haque and His Funk Brothers		Rockwood Music Hall Stage 3 10:30 pm $20• Max Bessessen; Oscar Perez Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25
êShades of Django: Stéphane Wrembel with Sarah King, Josh Kaye, Ari Folman-Cohen,David Langlois, Nick Driscoll, Adrien Chevalier, Joe Boga, Joe Correia, Nick Anderson,
Scott Kettner and guests Sam Bush, Sean Mason, Cyrille Aimeé		
Rose Theater 8 pm $40-170• WaHi Jazz Festival: Berta Moreno and Matt Wolfe
		
Saggio 9 pm
• Mike Ledonne
Smalls 7:30, 9 pm $20
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9, 10:30 pm $40-60• Centuries in the Hours and Other Songs: Lisa Bielawa, Leandra Ramm, Michael Delfin,
Oriana Hawley
The Stone at The New School 8:30 pm $20• Ben Wendel Quartet with Gerald Clayton, Linda May Han Oh, Obed Calvaire				Village Vanguard 8, 10 pm $40

Saturday, November 5• Adam Kolker/Bruce BarthBar Bayeux 6 pm
Bar Lunàtico 8:30, 10 pm $10• Hesa Gun: Anders Nilsson, Sam Kulik, David Ambrosio, Vinnie Sperrazza				Barbès 6 pm $20• Nicole Zuraitis
Birdland 5:30 pm $30• Django Reinhardt Festival Allstars: Samson, Stenli and Stefi Schmitt, Pierre Blanchard,
Ludovic Beier, Michael Harris, Antonio Licusati
		
Birdland 8:30, 10:30 pm $40
êMingus Dynasty
Birdland Theater 7, 9:30 pm $30• Robert Glasper with guest Yasiin Bey
		Blue Note 8, 10:30 pm $45• Nov Ken Fowser Group with David Hazeltine; Erena Terakubo		Café Bohemia 7, 9, 10:30 pm 12 am $20• Will Terrill Quintet; Tad Shull Quartet
		
Cellar Dog 7, 11:30 pm $10êFrancisco Mora Catlett AfroHORN Sonic Explorations with Román Díaz;
William Parker Southern Satellites with Isaiah Parker, Dave Sewelson,
Jason Kao Hwang, Brandon Lopez, Juan Pablo Carletti; Román Díaz Ensemble with
Máximo Valdés, Roger Conciglio, Clemente Medina, Rafael Monteagudo				
Clemente Soto Velez Cultural Center 7 pm $35
êSun Ra Arkestra, Jessie Cox, Laura Cocks, Sam Yulsman, String Noise, Eddy Kwon,
Tyler J. Borden
The DiMenna Center 7:30 pm $30• Sing and Swing—Our American Songbook: Bria Skonberg and Benny Benack III with
Jocelyn Gould, Miki Yamanaka, Mark Lewandowski, Charles Goold		Dizzy’s Club 7:30, 9:30 pm $25-45
êGiveton Gelin
Dizzy’s Club 11:15 pm $15• Joe Magnarelli Quartet; Hudson Horns; Sam Dillon Quartet
		
The Django 7:30, 10:30 pm 1 amêMike Stern
Drom 8 pm $25• FIDOqrtet: Maryanne De Prophetis, Ron Horton, Shoko Nagai, Satoshi Takeishi;
Jamie Baum Septet; Schapiro17: Alex Jeun, Andy Gravish, , Bryan Davis,
Candace DeBartolo, Deborah Weisz, Eddie Allen, Matt Hong, Nick Grinder,
Walter Harris, Noyes Bartholomew, Paul Carlon, Rob Middleton, Rob Wilkerson,
Roberta Piket, Sebastian Noelle, Evan Gregor, Jon Wikan
		
Greenwich House Music School 6 pm $25
êJoe Fiedler solo
Ibeam Brooklyn 8 pm $20
êAngelica Sanchez Quartet with Adam O’Farrill, John Hébert, Eric McPherson
		
The Jazz Gallery 7:30, 9:30 pm $30-40• Tammaso Perazzo/Mikey Migliore Knickerbocker Bar & Grill 9 pm $3.50• WaHi Jazz Festival: Louise Rogers’ Jazz for Kids; NYU Steinhardt Jazz Quintet;
CocoMama; Cynthia Soriano, Bruce Edwards, Essiet Essiet;
Vitor Gonçalves/Gili Lopes Brazilian Jazz Quartet; Sarah Jane Cion/Gottfried Stöger;Jason Yeager Septet; Max Pollak Group; Elijah Shiffer’s Robber Crabs
		
Le Chéile 11 am• Nat Adderley, Jr.
Minton’s 7, 9:30 pm $25• Antonio Ciacca
Pierre Hotel 6 pmêMichael Sarian Group with Santiago Leibson, Marty Kenney, Nathan Ellman-Bell				Rockwood Music Hall Stage 3 7 pm $20
êShades of Django: Stéphane Wrembel with Sarah King, Josh Kaye, Ari Folman-Cohen,David Langlois, Nick Driscoll, Adrien Chevalier, Joe Boga, Joe Correia, Nick Anderson,
Scott Kettner and guests Sam Bush, Sean Mason, Cyrille Aimeé		
Rose Theater 8 pm $40-170êGreg Lewis’ Organ Monk Trio

36 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD• Danny Mixon Ensemble• Mike Ledonne

Sistas’ Place 9, 10:30 pm $25
Smalls 7:30, 9 pm $20
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9, 10:30 pm $40-60• Broadcast from Home: Rebecca Fischer, Lisa Bielawa, Oriana Hawley, Ilaria Hawley,
Anthony Hawley
The Stone at The New School 8:30 pm $20• Ben Wendel Quartet with Gerald Clayton, Linda May Han Oh, Obed Calvaire				Village Vanguard 8, 10 pm $40
êEdsel Gomez Trio with Lonnie Plaxico, Ronnie Burrage		Zinc Bar 7, 8:30 pm $35

Sunday, November 6• WaHi Jazz Festival: Carol Morgan Trio		
181 Cabrini 11 am• Talujon
411 Kent 4 pm
• Creole Cookin’ Jazz Band
Arthur’s Tavern 7 pm
• Chris Morissey
Bar Lunàtico 8:30, 10 pm $10• Leni Stern
Barbès 6 pm $20
êStéphane Wrembel
Barbès 8 pm $20
êAlexis Cole
Birdland 5:30 pm $30• Django Reinhardt Festival Allstars: Samson, Stenli and Stefi Schmitt, Pierre Blanchard,
Ludovic Beier, Michael Harris, Antonio Licusati
		
Birdland 8:30, 10:30 pm $40
êMingus Dynasty
Birdland Theater 7, 9:30 pm $30
êRed Baraat
Blue Note 8, 10:30 pm $35• Dave Stryker Organ Trio
Cellar Dog 7 pm $10• Sing and Swing—Our American Songbook: Bria Skonberg and Benny Benack III with
Jocelyn Gould, Miki Yamanaka, Mark Lewandowski, Charles Goold		Dizzy’s Club 5, 7:30 pm $25-45• Craig Handy Quartet; Mike Ledonne Trio		The Django 6:30, 9:30 pm• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 8 pm
• Stan Killian Trio
Industry City 1 pm
• Joachim Mencel Brooklyn Eye with Pete McCann, Ugonna Okegwo, Rogério Boccato
		
The Jazz Gallery 8 pm $20• Welf Dorr, Elias Meister, Dmitry Ishenko, Joey Hurt
		
The Keep 9 pm
• Marianne Solivan
Mezzrow 7:30, 9 pm $20• Lorena Bossio
Minton’s 7, 9:30 pm $25• Dierk Peters’ Spring with Adam O’Farrill, Caleb Wheeler Curtis, Walter Stinson,
Buz Donald
The Owl Music Parlor 8 pm $12• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êMichael Howell, Jason Clotter, Will Terrill
		Saint Peter’s Church 5 pm
• Simon Moullier
Smalls 7:30, 9 pm $20
êCharles McPherson Quintet with Terell Stafford, Jeb Patton, David Wong,
Billy Drummond
Smoke 7, 9, 10:30 pm $40-60• Robert Glasper with guests Yasiin Bey, Bilal
		Sony Hall 8 pm $50-75• WaHi Jazz Festival: Tres Gatos Uptown Garrison 5 pm
• Ben Wendel Quartet with Gerald Clayton, Linda May Han Oh, Obed Calvaire				Village Vanguard 8, 10 pm $40
êBrian Charette Trio with Eric Zolan, Jordan Young		
The Wayland 8 pm

Monday, November 7• Asen Doykin• Julie Benko and Jason Yeager with Patrick Laslie, Danny Weller, Jay Sawyer

		
54 Below 9:30 pm $25-60• Grove Street Stompers
Arthur’s Tavern 7 pm
• Sam Reider with guest Jorge Glem Bar Lunàtico 8:30, 10 pm $10• Paul Jones Quartet
The Belfry 7 pmêSamara Joy
Blue Note 8, 10:30 pm $35• Vanderlei Pereira Trio
Cellar Dog 7 pm $10êLou Donaldson Birthday Celebration: Champion Fulton, Akiko Tsuruga, Zaid Nasser,Peter Bernstein, Fukushi Tainaka Dizzy’s Club 7:30, 9:30 pm $25-45• Naama Gheber with Ben Paterson, Neal Miner, Evan Sherman; Marcos Varela Quartet
		
The Django 7:30, 10:30 pmêVince Giordano and The Nighthawks
		Eli’s Table 7 pm $50• Andrew Haug Quartet
Fiction Bar/Café 9 pm
• Kristjan Randalu with Gene Pritsker, Larry Goldman, Gerry Brown
		
Kostabi World 7 pm $40• Spike Wilner
Mezzrow 7:30, 9 pm $20
êMyra Melford’s Fire and Water with Mary Halvorson, Ingrid Laubrock, Tomeka Reid,
Lesley Mok
Roulette 8 pm $30
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Pasquale Grasso Trio with Ari Roland, Keith Balla		Zinc Bar 7, 8:30 pm $30

Tuesday, November 8		Bar Lunàtico 8:30, 10 pm $10• Harvey Valdes
Barbès 7 pm $15• Peter Cincotti
Birdland 7, 9:30 pm $40• Loston Harris/Gianluca Renzi Birdland Theater 5:30 pm $30
êSamara Joy
Blue Note 8, 10:30 pm $35• Ehud Asherie Trio
Cellar Dog 7 pm $10• Leni Stern
Chelsea Table & Stage 9:30 pm $25• Yosvany Terry Quintet with Gema Corredera, Fabian Almazan, Yunior Terry,
Obed Calvaire
Dizzy’s Club 7:30, 9:30 pm $25-45• Alex Brown Quartet; Chino Pons The Django 7:30, 10:30 pm• Petros Klampanis/Kristjan Randalu with guest Gilad Hekselman		Drom 7 pm $20• Rico Jones Quartet
Fiction Bar/Café 9 pm
• Jinjoo Yoo
Hortus NYC 7 pm
• Kevin Sun Trio with Walter Stinson, Kayvon Gordon
		
Lowlands 8, 9:30 pm• Zach Brock
Mezzrow 7:30, 9 pm $20• Audrey Silver
Silvana 7 pm
• Thomas Marriot
Smalls 7:30, 9 pm $20
êSamara Joy
Trinity Wall Street 1 pm
• Donny McCaslin Quintet with Julian Lage, Gregoire Maret, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40• Jim Ridl Trio with Matthew Parrish, Rudy Royston
		
Zinc Bar 7, 8:30 pm $35

Wednesday, November 9
333 Lounge 7:30, 9:30 pm• Seymour Glass; Rump State
411 Kent 8 pm $15• David Berkman
Bar Bayeux 8, 9:30 pm• Or Bareket Quartet with Savannah Harris, Godwin Louis, Jeremy Corren

		Bar Lunàtico 8:30, 10 pm $10• Peter Cincotti
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night with Gary Mazzaroppi, Vince Cherico andguest Olli Soikkeli
Birdland Theater 8:30 pm $30• Weedie Braimah and The Hands of Time		Blue Note 8, 10:30 pm $35• Jerry Weldon; Elijah Balbed
Café Bohemia 7, 8:30, 10, 11:30 pm $10• Chris Beck Trio
Cellar Dog 7 pm $10• Andrew Kushnir Trio
Chelsea Table & Stage 9:30 pm $20
êDave Kikoski
The Cutting Room 7 pm $25
êValerie Capers Trio with John Robinson, Doug Richardson		David Geffen Hall 8 pm
• Yosvany Terry Quintet with Gema Corredera, Fabian Almazan, Yunior Terry,
Obed Calvaire
Dizzy’s Club 7:30, 9:30 pm $25-45• Vivian Sessoms; Joe Strasser Quartet
		
The Django 7:30, 10:30 pm• Daniel Rossi Quartet
Fiction Bar/Café 9 pm
• Underground Horns
Groove Bar & Grill 7 pm
• Jazzmobile: Amina Figarova Sextet with Bart Platteau, Freddie Hendrix,
Wayne Escoffery, Luques Curtis, Rudy Royston
		Interchurch Center 7 pm

Sat, Nov. 5

mini-fest

The Greenwich House Music Hall
46 Barrow Street, NY, NY
6p – 10p Sets @ 6, 7:15, 8:30
$25, $15 students for 3 setsnycnow.eventbrite.com

FIDOqrtet

Takeishi/Horton/deProphetis/Nagai

Jamie Baum
Septet+Thursday, November 10• Terry Waldo’s Gotham City Band Arthur’s Tavern 7 pm
• Marta Sanchez
Bar Bayeux 5 pm
• Joy Askew with Andy Hess, Luca Benedetti, Tony Mason• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Rogério Boccato, Vinicius Gomes, Gili LopesêJerome Harris Trio

Mezzrow 7:30, 9 pm $20
Midnight Theatre 7, 9:30 pm $65-75• Calvin Johnson’s A Love Letter to Sidney Bechet		
Minton’s 7, 9:30 pm $25
êAvram Fefer Quartet with Marc Ribot, Luke Stewart, Chad Taylor
		Nublu 151 7:30 pm $25
êSpacepilot: Elias Meister, Leo Genovese, Joey Hardenstone		
Nublu 151 10 pm $10• Tigran Hamasyan
The Opera House 7 pm $45• Nancy Kelly with Dino Losito, Neal Miner, Joe Strasser		Pangea 7 pm $25• Antonio Ciacca
Pierre Hotel 6 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êRon McClure
Smalls 7:30, 9 pm $20• Shedrick Mitchell Quartet with Alicia Olatuja, Daniel Winshall, Charles Haynes				
Smoke 7, 9 pm $25• Gabby Fluke-Mogul, Anthony Coleman, Brian Chase		The Stone at The New School 8:30 pm $20• Odeya Nini; Chris Dingman
Tenri Cultural Institute 8:30 pm• Donny McCaslin Quintet with Julian Lage, Gregoire Maret, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm
êMingus Big Band

Schapiro17

		Bar Lunàtico 8:30, 10 pm $10êOscar Noriega’s Crooked Quartet with Marta Sanchez, Christopher Tordini,
Jason Nazary
Barbès 8 pm $20• Peter Cincotti
Birdland 7, 9:30 pm $40• Miss Maybell and The Jazz Age Artistes with Charlie Judkins, Brian Nalepka, Andy Stein		
Birdland Theater 8:30 pm $30• Weedie Braimah and The Hands of Time		Blue Note 8, 10:30 pm $35• Thomas Linger; Adam Mozenia Café Bohemia 7, 8:30, 10, 11:30 pm $10• Noriko Ueda Quartet; Jinjoo Yoo Quartet
		
Cellar Dog 7, 11:30 pm $5êJanice Lowe and Namaroon with Olithea Anglin, Yohann Potico;
Brandon Lopez/Sylvie Courvoisier; James Brandon Lewis Dvorak Quartet				
Clemente Soto Velez Cultural Center 7 pm $35• Timothy Norton Group
Diwine 8 pmêRenee Rosnes Quartet with Steve Wilson, Peter Washington, Carl Allen				
Dizzy’s Club 7:30, 9:30 pm $25-45• Joe Block
Dizzy’s Club 11:15 pm $15• Tim Ries and Friends; Mark Whitfield		
The Django 7:30, 10:30 pm• Connor Evan Quartet
Fiction Bar/Café 9 pmêLauren Sevian Quartet with Miki Yamanaka, Marcos Varela, Shirazette Tinnin				
Flushing Town Hall 7:30 pm $5• Kendrick Scott
Jamaica Center for Arts and Learning 8 pm
• Hamish Smith Quintet with Nicola Caminiti, Gilad Hekselman, Lex Korten, Jongkuk Kim
		
The Jazz Gallery 7:30, 9:30 pm $20-30êMichael Marcus Trio with Warren Smith, Jay Rosen		
Jazz Museum in Harlem 2 pm
• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover,Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm
• Eric Yves Garcia
Pierre Hotel 6 pm
• Robin Holcomb; Sara Schoenbeck/Wayne Horvitz
		Roulette 8 pm $30
êEddie Allen
Smalls 7:30, 9 pm $20
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9, 10:30 pm $40-60• Julian Kytasty, Anthony Coleman and guests
		The Stone at The New School 8:30 pm $20• Donny McCaslin Quintet with Julian Lage, Gregoire Maret, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40

Friday, November 11êJohnny O’Neal Trio

Arthur’s Tavern 7 pm
Bar Bayeux 8, 9:30 pm
Birdland 5 pm $30
Birdland 8:30, 10:30 pm $40
êFrank Catalano Quartet
Birdland Theater 7, 9:30 pm $30
êPeter Bernstein/Pasquale Grasso; Sarah Hanahan		Café Bohemia 7, 9, 10:30 pm 12 am $20• Wayne Tucker Quintet; Ai Murakami Quartet
		
Cellar Dog 7, 11:30 pm $10êAngelica Sanchez/Chad Taylor; Fred Moten; Cooper-Moore Quartet with DoYeon Kim,
Matt Mottel, Michael TA Thompson Clemente Soto Velez Cultural Center 7 pm $35• Chiele Minucci and Special EFX with Jay Rowe, David Livolsi, Joel Rosenblatt		The Cutting Room 7 pm $40
êRenee Rosnes Quartet with Steve Wilson, Peter Washington, Carl Allen				
Dizzy’s Club 7:30, 9:30 pm $25-45• Joe Block
Dizzy’s Club 11:15 pm $15• Ed Cherry Quartet; Horne Electric Band; Eitan Kenner		
The Django 7:30, 10:30 pm 1 am
• Marcello Cardillo Quartet
Fiction Bar/Café 9 pm
• Tito Rodríguez Tribute Celebration Hostos Center 8 pm $45-100• Wildebeest Wind Quintet: Michel Gentile, Katie Scheele, Michael McGinnis,
Christopher Foss, Rob Jost
Ibeam Brooklyn 8 pm $20
êThumbscrew: Michael Formanek, Tomas Fujiwara, Mary Halvorson
		
The Jazz Gallery 7:30, 9:30 pm $30-40• Miho Sasaki
Knickerbocker Bar & Grill 9 pm $3.50• Todd Coolman
Mezzrow 7:30, 9 pm $20• Misha Piatigorsky
Minton’s 7, 9:30 pm $25• Eva Steinberg’s Not Your Mama’s Peggy Lee		Pangea 7 pm $25• Antonio Ciacca
Pierre Hotel 6 pm
• Aimée Allen; Jason Clotter
Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25• Joanna Mattrey/Billy Martin
Roulette 8 pm $30
êGeorge Garzone
Smalls 7:30, 9 pm $20
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9, 10:30 pm $40-60
êChampian Fulton Trio with Hide Tanaka, Fukushi Tainaka		Special Club 8:15, 10 pm• Survivors Breakfast: Lyra Montoya, Julian Seney, Rihards Kolmanis, Yoona Kim,
Ari Chais, Hannah Joskow Dunton, Henry Wilson, James Paul Nadien,
Delfina Cheb Terrab, Anthony Coleman
		The Stone at The New School 8:30 pm $20• Donny McCaslin Quintet with Julian Lage, Gregoire Maret, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40• Zach Lapidus• Birdland Big Band
• Peter Cincotti

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 37

Saturday, November 12• Adam Kolker/Glenn Zaleski
Bar Bayeux 6 pm
• Anders Nilsson Trio with David Ambrosio, Pete Nelson

		Barbès 6 pm $20• Peter Cincotti
Birdland 8:30, 10:30 pm $40
êFrank Catalano Quartet
Birdland Theater 7, 9:30 pm $30• Jerome Sabbagh Group with Nicole Glover; James Sarno		
Café Bohemia 7, 9, 10:30 pm 12 am $20• Jade Synstelien Quartet; Richard Clements Quartet
		
Cellar Dog 7, 11:30 pm $10êColors of The Night: Eri Yamamoto, William Parker, Ikuo Takeuchi; Bob Holman;
Whit Dickey/Rob Brown; Matthew Shipp solo		
Clemente Soto Velez Cultural Center 7 pm $35
êRenee Rosnes Quartet with Steve Wilson, Peter Washington, Carl Allen				
Dizzy’s Club 7:30, 9:30 pm $25-45• Joe Block
Dizzy’s Club 11:15 pm $15• Tommy Campbell Trio; Richard Cortez Band; Sam Dillon Quartet
		
The Django 7:30, 10:30 pm 1 am
• Ken Kobayashi, Ayumi Ishito, Eric Plaks; Stephen Gauci, Gasper Piano, Adam Lane,
Kevin Shea; Rotem Eylam, Mark Abramovski, Isaac Dubow, Ben Eidson				
Downtown Music Gallery 6 pm
• Carson Young
Fiction Bar/Café 9 pmêNEA Jazz Masters—The Blues Feeling: Jimmy Owens, Camille Thurman,
Wycliffe Gordon, Danny Mixon, Kenny Davis, Terri Lyne Carrington
		Flushing Town Hall 8 pm $40• Tito Rodríguez Tribute Celebration Hostos Center 8 pm $45-100êThumbscrew: Michael Formanek, Tomas Fujiwara, Mary Halvorson
		
The Jazz Gallery 7:30, 9:30 pm $30-40• Miho Sasaki
Knickerbocker Bar & Grill 9 pm $3.50• Manhattan School of Music Precollege Jazz		
Manhattan School of Music Miller Recital Hall 4 pm
• Todd Coolman
Mezzrow 7:30, 9 pm $20
êTed Nash
Minton’s 7, 9:30 pm $25• Antonio Ciacca
Pierre Hotel 6 pm
• Michael Leonhart/JSWISS
Rockwood Music Hall Stage 2 9 pm $20• Carla Cook and Trio
Sistas’ Place 9, 10:30 pm $25
êGeorge Garzone
Smalls 7:30, 9 pm $20
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9, 10:30 pm $40-60
êChampian Fulton Trio with Hide Tanaka, Fukushi Tainaka		Special Club 8:15, 10 pmêAnthony Coleman and guest
The Stone at The New School 8:30 pm $20
êAACM New York: David Virelles solo; Reggie Nicholson’s Trio Sphere				Symphony Space Leonard Nimoy Thalia 8 pm $30• Donny McCaslin Quintet with Julian Lage, Gregoire Maret, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40

Sunday, November 13• Creole Cookin’ Jazz Band

Arthur’s Tavern 7 pm
Barbès 8 pm $20• Olli Soikkeli Trio with Paul Sikivie, Dani Danor		
Barbès 10 pm $15• Purchase Latin Jazz Orchestra Directed by David DeJesus
		
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êFrank Catalano Quartet
Birdland Theater 7, 9:30 pm $30• Adam Birnbaum Trio
Cellar Dog 7 pm $10êRenee Rosnes Quartet with Steve Wilson, Peter Washington, Carl Allen				
Dizzy’s Club 5, 7:30 pm $25-45• Michael Kanan Trio; Gregoire Maret Quartet
		
The Django 6:30, 9:30 pm• Tatiana Eva-Marie Avalon Jazz Band		Drom 8 pm $25• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 8 pm
• Tito Rodríguez Tribute Celebration Hostos Center 8 pm $45-100• Welf Dorr, Elias Meister, Dmitry Ishenko, Joey Hurt
		
The Keep 9 pm
• Richard Cortez; Naama Gheber Mezzrow 7:30, 9, 10:30 pm $20• Noam Weisenberg; JK Kim Trio with Or Bareket, Lex Korten
		
The Owl Music Parlor 8 pm $12• Sue Matsuki/Gregory Toroian’s Jazz Brunch		Pangea 1 pm
• Sky Creature and Jeff Dolven
Rizzoli Bookstore 5 pm $20• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êWilliam Hooker’s The Silver Fleece with Sarah Manning, Charlie Burnham, On Davis,
Hilliard Greene
Roulette 8 pm $30• Miki Yamanaka/Tyrone AllenSaint Peter’s Church 5 pm
• Frank Basile
Smalls 7:30, 9 pm $20
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9, 10:30 pm $40-60• Christopher Ryan Williams solo; Andrew Drury solo		Starr Bar 6 pm
• Donny McCaslin Quintet with Julian Lage, Gregoire Maret, Scott Colley,
Johnathan Blake
Village Vanguard 8, 10 pm $40
êStéphane Wrembel

Monday, November 14• Grove Street Stompers
Arthur’s Tavern 7 pm
• Saul Rubin Trio
Bar Lunàtico 8:30, 10 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Andy Farber Quintet
Birdland Theater 8:30 pm $30• Chief Adjuah Christian ScottBlue Note 8, 10:30 pm $35• Victor Gould Trio
Cellar Dog 7 pm $10• Brubeck Brothers: Dan and Chris Brubeck, Mike DeMicco, Chuck Lamb				Dizzy’s Club 7:30, 9:30 pm $25-45• Alex Tremblay; Gabrielle Stravelli Quartet
		
The Django 7:30, 10:30 pm• Aaron Seeber Quartet
Fiction Bar/Café 9 pm
• Todd Rewoldt/Lesi Mei
Michiko Studios 7 pm $30
êJerry Granelli Memorial with Jay Clayton, Rinde Eckert, Jane Ira Bloom, Brad Shepik,
Briggan Krauss, Jamie Saft, Michael Blake, Owen Howard, Michael Sarin, Peter Epstein,
Aaron Alexander
Roulette 8 pm $30• Duduka Da Fonseca
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Roni Ben-Hur Trio with Harvie S, Sylvia Cuenca
		Zinc Bar 7, 8:30 pm $30

Tuesday, November 15• Diego Voglino Jam Session

Bar Bayeux 8 pm

		Bar Lunàtico 8:30, 10 pm $10êAvram Fefer Group with Anders Nilsson, Luke Stewart, Michael Wimberly

38 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD• The Hot Sardines
Birdland 7, 9:30 pm $40• Loston Harris/Gianluca Renzi Birdland Theater 5:30 pm $30• Chief Adjuah Christian ScottBlue Note 8, 10:30 pm $35• Brandi Disterheft Trio
Cellar Dog 7 pm $10• Brubeck Brothers: Dan and Chris Brubeck, Mike DeMicco, Chuck Lamb				Dizzy’s Club 7:30, 9:30 pm $25-45• Itai Kriss and Televana; Hector Martignon’s Foreign Affair					
The Django 7:30, 10:30 pm• Kuba Cichocki/Brandon Seabrook; Bob Musso/Mark Daterman
		
Downtown Music Gallery 6:30 pm• Tamir Lifshitz Quartet
Fiction Bar/Café 9 pm
• Jinjoo Yoo
Hortus NYC 7 pm
• Kevin Sun Quartet with Evan Main, Walter Stinson, Eliza Salem		
Lowlands 8, 9:30 pm• Dred Scott
Mezzrow 7:30, 9 pm $20
êSylvie Courvoisier’s Chimeara with Christian Fennesz, Wadada Leo Smith,Nate Wooley, Drew Gress, Kenny Wollesen		
Roulette 8 pm $30• Benny Rubin, Jr.
Smalls 7:30, 9 pm $20• Theo Walentiny Trio
Trinity Wall Street 1 pmêTom Harrell Quintet with Dayna Stephens, Luis Perdomo, Ugonna Okegwo,
Adam Cruz
Village Vanguard 8, 10 pm $40• Silvano Monasterios Trio with Ricky Rodriguez, Jimmy Macbride		Zinc Bar 7, 8:30 pm $35

Wednesday, November 16êLafayette Harris Trio

333 Lounge 7:30, 9:30 pm• Angel Dean/Sue Garner; Doug Wieselman, Jane Scarpantoni, Kenny Wollesen		
411 Kent 8 pm $15• Michael Bates Group with Donny McCaslin, Josh Deutsch, Uri Caine, Michael Sarin
		Bar Bayeux 8, 9:30 pm• Tal Mashiach’s Tiyul
Bar Lunàtico 8:30, 10 pm $10• The Hot Sardines
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night with Gary Mazzaroppi, Vince Cherico andguest Tessa Lark
Birdland Theater 8:30 pm $30
êCatherine Christer Hennix’s Kamigaku Ensemble with Marcus Pal, Ellen Arkbro,
Susana Santos Silva, Amir ElSaffar		Blank Forms 7:30 pm $40• Chief Adjuah Christian ScottBlue Note 8, 10:30 pm $35• Rachel Eckroth; Charlie Sigler Café Bohemia 7, 8:30, 10, 11:30 pm $10êCreative Music Studio Benefit Concert with Nels Cline, Ava Mendoza, Billy Martin,
Steven Bernstein, Joe Russo, Gabby Fluke-Mogul, Luke Stewart, Mara Rosenbloom,
Karl Berger, Ingrid Sertso
Brooklyn Bowl 6, 8:30 pm $200
• Brazilian Grooves
Cellar Dog 7 pm $10• Keith Loftis
Chelsea Table & Stage 9:30 pm $20• Guy Mintus Trio with Alon Near, Philippe Lemm		Dizzy’s Club 7:30, 9:30 pm $25-45• Dan Aran Band; Rachel Z Quartet The Django 7:30, 10:30 pm• Alex Wintz
Mezzrow 7:30, 9 pm $20
êMingus Big Band
Midnight Theatre 7, 9:30 pm $65-75• Calvin Johnson’s A Love Letter to Erykah Badu
		
Minton’s 7, 9:30 pm $25• Eden Bareket’s Zaman with Chris McCarthy, Tamir Shmerling, Alon Benjamini;
DMT Trio: Michael Mayo, Tamir Shmerling, Diego Ramirez
		
Nublu 151 7 pm $20• CeCe Gable with Roni Ben-Hur, Harvie S, Matt Wilson
		Pangea 7 pm $25• Antonio Ciacca
Pierre Hotel 6 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Isabel Crespo Pardo
Roulette 8 pm $30• Thomas Linger
Smalls 7:30, 9 pm $20
êDavid Hazeltine Trio with Peter Washington, Louis Hayes
		
Smoke 7, 9 pm $25
êHyperunderstanding Quartet: Jonathan Finlayson, Matt Mitchell, Tyrone Allen,
Kate Gentile
The Stone at The New School 8:30 pm $20
êTom Harrell Quintet with Dayna Stephens, Luis Perdomo, Ugonna Okegwo,
Adam Cruz
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, November 17• Intergenerational Jazz Power Jam—Here’s to the Ladies Who Swing and Bling:

Antoinette Montague with Eli Yamin, Melissa Slocum, Darrell Smith and guests
Claire Daly, Annette A. Aguilar, Kim Holmes, Joie St. Hubert		Alianza Dominicana Cultural Center 7 pm
• Journey Through Jazz Part II: Jazz at Lincoln Center Orchestra with Wynton Marsalis
		
The Appel Room 7, 9:30 pm $45• Terry Waldo’s Gotham City Band Arthur’s Tavern 7 pm
• Marta Sanchez
Bar Bayeux 5 pm
• Adam Kolker, Marc Copland, Jeremy Stratton, Anthony Pinciotti
		
Bar Bayeux 8, 9:30 pm• The Hot Sardines
Birdland 7, 9:30 pm $40• Tawanda with Dave Kikoski Trio Birdland Theater 8:30 pm $30
êCatherine Christer Hennix’s Kamigaku Ensemble with Marcus Pal, Ellen Arkbro,
Susana Santos Silva, Amir ElSaffar		Blank Forms 7:30 pm $40• Chief Adjuah Christian ScottBlue Note 8, 10:30 pm $35• The Octet; Elio Coppola
Café Bohemia 7, 8:30, 10, 11:30 pm $10• Eric Wheeler Quartet; Miki Yamanaka Quartet
		
Cellar Dog 7, 11:30 pm $5• Ben Price Trio
Chelsea Table & Stage 9:30 pm $20• Timothy Norton Group
Diwine 8 pmêJeremy Pelt’s Birthday Soundtrack with Chien Chien Lu, Victor Gould, VIcente Archer,
Allan Mednard
Dizzy’s Club 7:30, 9:30 pm $25-45• Alex Weitz
Dizzy’s Club 11:15 pm $15• Tim Ries and Friends; Lee Taylor The Django 7:30, 10:30 pm• Gary Jones Quartet
Fiction Bar/Café 9 pm
• Jane Bunnett and Maqueque
Hostos Center 7:30 pm $20-25• Dabin Ryu Sextet with Zoe Obadia, Nathan See, Kevin Scollins, Benjamin Young,
Willis Edmundson
The Jazz Gallery 7:30, 9:30 pm $20-30• Aubrey Johnson/Randy Ingram 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
• Eric Yves Garcia
Pierre Hotel 6 pm
• Josh Laurence
Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Orrin Evans, John Webber, Joe Farnsworth and guest
Peter Bernstein
Smoke 7, 9, 10:30 pm $40-60• Sara Serpa, Anna Webber, Sara Schoenbeck, Joanna Mattrey, Mariel Roberts,
Matt Mitchell
The Stone at The New School 8:30 pm $20
êTom Harrell Quintet with Dayna Stephens, Luis Perdomo, Ugonna Okegwo,
Adam Cruz
Village Vanguard 8, 10 pm $40

Friday, November 18• Journey Through Jazz Part II: Jazz at Lincoln Center Orchestra with Wynton Marsalis

		
The Appel Room 7, 9:30 pm $45
êJohnny O’Neal Trio
Arthur’s Tavern 7 pm
• Troy Roberts
Bar Bayeux 8, 9:30 pm• Street Life! The Music of The Crusaders: Craig Dreyer		
Bar Lunàtico 8:30, 10 pm $10• Birdland Big Band
Birdland 5 pm $30• The Hot Sardines
Birdland 8:30, 10:30 pm $40
êCatherine Christer Hennix’s Kamigaku Ensemble with Marcus Pal, Ellen Arkbro,
Susana Santos Silva, Amir ElSaffar		Blank Forms 7:30 pm $40• Ronnie Cuber Celebration: Frank Basile and Jason Marshall; Andrew Wagner		
Café Bohemia 7, 9, 10:30 pm 12 am $20• Sylvia Cuenca Quintet; Gabriele Donati Quartet
		
Cellar Dog 7, 11:30 pm $10êJeremy Pelt’s Birthday Soundtrack with Chien Chien Lu, Victor Gould, VIcente Archer,
Allan Mednard
Dizzy’s Club 7:30, 9:30 pm $25-45• Alex Weitz
Dizzy’s Club 11:15 pm $15• Matt Rollings Quartet with Howard Paul; Craig Handy and 2nd Line Smith; Eitan Kenner		
The Django 7:30, 10:30 pm 1 am
• Luke Norris Quartet
Fiction Bar/Café 9 pm
• Taylor Eigsti Quartet with David “DJ” Ginyard, Jr., Charles Altura		
The Jazz Gallery 7:30, 9:30 pm $30-40• Jon Davis
Knickerbocker Bar & Grill 9 pm $3.50
êThe Music of Darcy James Argue: Manhattan School of Jazz Orchestra with guest
Ingrid Jensen
Manhattan School of Music Neidorff-Karpati Hall 7:30 pmêAaron Diehl
Merkin Concert Hall 7:30 pm $30• Allan Harris
Mezzrow 7:30, 9 pm $20• Michela Marino Lerman’s Love Movement		
National Sawdust 8 pm $25• Camille Norment/Craig Taborn Park Avenue Armory 7, 9 pm $45• Antonio Ciacca
Pierre Hotel 6 pm
• Zach Adleman; Akiko Tsuruga Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25
êZakir Hussain/Niladri Kumar
Skirball Center 8 pm $35-85• Walt Weiskopf
Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Orrin Evans, John Webber, Joe Farnsworth and guest
Peter Bernstein
Smoke 7, 9, 10:30 pm $40-60• Phalanx Ambassadors: Jon Irabagon, Miles Okazaki, Patricia Brennan, Matt Mitchell,
Kim Cass, Kate Gentile
The Stone at The New School 8:30 pm $20
êTom Harrell Quintet with Dayna Stephens, Luis Perdomo, Ugonna Okegwo,
Adam Cruz
Village Vanguard 8, 10 pm $40• Charu Suri with Falsa, Joe Lastie, Noshir Mody, Kobi Arad, Justin Lee, Jay O’Brien,
Radhika Baskar
Weill Recital Hall at Carnegie Hall 8 pm $39-59• Somi with Mazz Swift, Dana Lyn, Cameren Anai, Dara Hankins, Otis Brown III,
Toru Dodo, Michael Olatuja, Myron Walden		
Zankel Hall 9 pm $54-64

Saturday, November 19• C. Spencer Yeh/Kwami Winfield; Thomas Dimuzio/Bob Bellerue		
411 Kent 8 pm $15• Journey Through Jazz Part II: Jazz at Lincoln Center Orchestra with Wynton Marsalis
		
The Appel Room 7 pm $45• Adam Kolker/Russ Lossing
Bar Bayeux 6 pm
êIN FLUX: Ravi Coltrane, Luis Perdomo, Drew Gress, EJ Strickland
		Bar Bayeux 8, 9:30 pm• Helio Alves/Guilherme Monteiro Bar Lunàtico 8:30, 10 pm $10• Anders Nilsson/Kenny Wessel Barbès 6 pm $20• The Hot Sardines
Birdland 8:30, 10:30 pm $40
êCatherine Christer Hennix’s Kamigaku Ensemble with Marcus Pal, Ellen Arkbro,
Susana Santos Silva, Amir ElSaffar		Blank Forms 6:30 pm $40• Ronnie Cuber Celebration: Frank Basile and Jason Marshall; Willerm Delisfort		
Café Bohemia 7, 9, 10:30 pm 12 am $20• Chuck Redd Quartet; James Austin Quartet
		
Cellar Dog 7, 11:30 pm $10êArts for Art Fundraiser Celebration: Dan Kurfirst, Daro Behroozi, Rodney Chapman,
Dave Sewelson, Mike McGinnis, Claire deBrunner, Dick Griffin, On Ka Davis, Che Chen,
Ken Filiano, Lesley Mok, Andrea Wolper, Lisa Sokolov; Luke Stewart, Heru Shabaka-Ra,
Tcheser Holmes; Patricia Spears Jones; Zigi Lowenberg; Ava Mendoza, Rob Brown,
Jason Kao Hwang, William Parker, Tcheser Holmes; Aakash Mittal, Gabby Fluke-Mogul,
Leo Chang, Ken Filiano, Dan Kurfirst; Cooper-Moore solo; Ahmed Abdullah,
Monique Ngozi Nri, Sam Newsome, William Parker, Francisco Mora Catlett,Davalois Fearon; James Brandon Lewis, Eri Yamamoto, Brandon Lopez,
Michael TA Thompson; Raymond Nat Turner; Yuko Otomo; Avram Fefer, Dick Griffin,
Dave Sewelson, Luke Stewart, Michael Wimberly, Lesley Mok; Lisa Sokolov,
Andrea Wolper, Ellen Christi, Kyoko Kitamura, Patricia Nicholson, Eri Yamamoto,
Michael TA Thompson; Mara Rosenbloom, Karen Borca, Mike McGinnis, Leo Chang,
Whit Dickey; William Parker Big Band with Rob Brown, Dave Sewelson, Aakash Mittal,
James Brandon Lewis, Dick Griffin, Heru Shabaka-Ra, Jason Kao Hwang,
Gabby Fluke-Mogul, Lisa Sokolov, Andrea Wolper, Ellen Christi, Kyoko Kitamura,
Eri Yamamoto, Brandon Lopez, Ken Filiano, Michael Wimberly, Juan Pablo Carletti,
Davalois Fearon, Patricia Nicholson Clemente Soto Velez Cultural Center 6 pm $60
êA Tribute to Strata-East: Charles Tolliver, Josh Evans, Bruce Williams, Luis Perdomo,
Nat Reeves, Carl Allen
The Cutting Room 3 pm $35
êJeremy Pelt’s Birthday Soundtrack with Chien Chien Lu, Victor Gould, VIcente Archer,
Allan Mednard
Dizzy’s Club 7:30, 9:30 pm $25-45• Alex Weitz
Dizzy’s Club 11:15 pm $15• Mariel Bildsten Septet; Sam Dillon Quartet
		
The Django 10:30 pm 1 am
• Raphael Silverman Quartet
Fiction Bar/Café 9 pm
• Zodiac: Palaver Strings with Chris Patishall Trio		
Greenwich House Music School 8 pm
• Taylor Eigsti Quartet with David “DJ” Ginyard, Jr., Charles Altura		
The Jazz Gallery 7:30, 9:30 pm $30-40• Jon Davis
Knickerbocker Bar & Grill 9 pm $3.50• Manhattan School of Music Precollege Jazz		
Manhattan School of Music Miller Recital Hall 4 pm
• Geoff Keezer
Mezzrow 7:30, 9 pm $20• Ray Blue
Minton’s 7, 9:30 pm $25
êOran Etkin’s Timbalooloo Jazz for Kids with guest Bobby Sanabria		
National Sawdust 11 am $20• Antonio Ciacca
Pierre Hotel 6 pm
• Christian Fennesz
Public Records 7 pm $35• Vanessa Rubin and Trio
Sistas’ Place 9, 10:30 pm $25• Walt Weiskopf
Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Orrin Evans, John Webber, Joe Farnsworth and guest
Russell Malone
Smoke 7, 9, 10:30 pm $40-60
êMiguel Zenón, Matt Mitchell, Chris Tordini, Dan Weiss		The Stone at The New School 8:30 pm $20
êTom Harrell Quintet with Dayna Stephens, Luis Perdomo, Ugonna Okegwo,
Adam Cruz
Village Vanguard 8, 10 pm $40

Sunday, November 20• Rob Garcia solo
440Gallery 4:40 pm $10• Creole Cookin’ Jazz Band
Arthur’s Tavern 7 pm
• Wayne Tucker and The Bad Mothas

		Bar Lunàtico 8:30, 10 pm $10• Sunny Jain’s Wild Wild East with Ben Parag, Alison Shearer, Ryan Dugre,
Almog Sharvit
Barbès 8 pm $20• Daisy Castro Group with Max O’Rourke, Brad Brose, James Robbins				
Barbès 10 pm $20• Benny Benack III/Steven Feifke Holiday Show		
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êCatherine Christer Hennix’s Kamigaku Ensemble with Marcus Pal, Ellen Arkbro,
Susana Santos Silva, Amir ElSaffar					Blank Forms 6:30 pm $40• Willerm Delisfort Trio
Cellar Dog 7 pm $10• Always Irving Berlin: Debby Boone, Darius de Haas, Anaïs Reno, Joe Davidian,Abdias Armenteros, Jay Leonhart, Jerome Jennings		Dizzy’s Club 5, 7:30 pm $25-45• Alexander Claffy Quartet; Michael Kanan Trio		The Django 6:30, 9:30 pm• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 8 pm
• Davis Mirarchi Quartet
Fiction Bar/Café 9 pm
• William Hooker’s Let Music Be Your Brunch		Funkadelic Studios 11 am• Kelly Green/Luca Soul Rosenfeld and guest Tim Armacost		Green Soul Studios 6:30 pm $40• Intergenerational Jazz Power Jam—Here’s to the Ladies Who Swing and Bling:
Antoinette Montague with Eli Yamin, Melissa Slocum, Darrell Smith and guests
Claire Daly, Annette A. Aguilar, Kim Holmes, Joie St. Hubert		Jazz Museum in Harlem 2 pm $10• Welf Dorr, Elias Meister, Dmitry Ishenko, Dave Miller
		
The Keep 9 pm
• Carol Morgan
Mezzrow 7:30, 9 pm $20• Ryan Hanseler Trio+1 with Gabrielle Cavassa
		
Minton’s 7, 9:30 pm $25• Triangle Factory Fire: Yale Strom and Hot Pstromi with Fred Benedetti, Peter Stan,
Jim Whitney, Elizabeth Schwartz The Museum at Eldridge Street 3 pm $25
êBilly Martin solo; Eric Mingus/Elliott Sharp		
Nublu 151 7 pm $20• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êYuko Fujiyama’s Contemporary East I with Jen Shyu, Graham Haynes,
Reggie Nicholson
Roulette 8 pm $30• Sebastian Noelle, Matt Aronoff, Lee Fish		Saint Peter’s Church 5 pm
• Jochen Rueckert
Smalls 7:30, 9 pm $20
êGeorge Coleman Quartet with Orrin Evans, John Webber, Joe Farnsworth and guest
Peter Bernstein
Smoke 7, 9, 10:30 pm $40-60• Boney JamesSony Hall 8 pm $60-105êTom Harrell Quintet with Dayna Stephens, Luis Perdomo, Ugonna Okegwo,
Adam Cruz
Village Vanguard 8, 10 pm $40

Monday, November 21• Grove Street Stompers
Arthur’s Tavern 7 pm
• Bruce Barth Trio
Bar Lunàtico 8:30, 10 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Troy Roberts NU-JIVE with Tim Jago, Silvano Monasterios, Eric England,
Dave Chiverton

Birdland Theater 8:30 pm $30• Dizzy Gillespie Afro-Latin Experience		Blue Note 8, 10:30 pm $35• Bruce Harris Trio
Cellar Dog 7 pm $10• Russ Anixter’s Hippie Big Band The Cutting Room 7 pm $25• Always in Pursuit—An Homage to Stanley Crouch		Dizzy’s Club 7:30, 9:30 pm $25-45• Adam Moezinia Folk Element Trio; Far West: Noah Haidu/Peter Bernstein		
The Django 7:30, 10:30 pm• Elijah Shiffer Quartet
Fiction Bar/Café 9 pmêMargaret Slovak Trio with Harvie S, Michael Sarin		The Jazz Gallery 7 pm $20• Spike Wilner
Mezzrow 7:30, 9 pm $20• Jorge Glem/César Orozco Duo National Arts Club 9 pm $25
êYuko Fujiyama’s Contemporary East II with Sylvie Courvoisier, Ned Rothenberg,
Do Yeon Kim, Satoshi Takeishi Roulette 8 pm $30• Ari Hoenig
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Oz Noy
Zinc Bar 7, 8:30 pm $30

Tuesday, November 22• Liz and Ann Hampton Callaway 54 Below 7 pm $70-145• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Jacob Jolliff, Tal Yahalom, Tamar Korn

		Bar Lunàtico 8:30, 10 pm $10êKen Peplowski Quartet
Birdland 7, 9:30 pm $40• Loston Harris/Gianluca Renzi Birdland Theater 5:30 pm $30
êVince Giordano and The Nighthawks
		Birdland Theater 8:30 pm $30
êEddie Palmieri
Blue Note 8, 10:30 pm $45• Ehud Asherie Trio
Cellar Dog 7 pm $10êSteven Bernstein’s Millennial Territory Orchestra and Friends
		City Winery 8 pm $30-55• Elio Villafranca
David Rubenstein Atrium 7:30 pm• Manhattan School of Jazz Orchestra le by Darcy James Argue with guest Ingrid Jensen		Dizzy’s Club 7:30, 9:30 pm $25-45• Helio Alves Trio; Carlos Abadie’s Latin Jazz Express
		
The Django 7:30, 10:30 pm• Cameron Campbell; Ayumi Ishito, Remi Hasumi, Yuko Togami
		Downtown Music Gallery 6:30 pm• Agustin Grasso Quartet
Fiction Bar/Café 9 pm
• Jinjoo Yoo
Hortus NYC 7 pm
• Hayoung Lyou with Sunhyun Yoo, Jacob Shulman, Kevin Sun, Thomas Morgan,
Vinnie Sperrazza
Lowlands 8, 9:30 pm• A BuMezzrow 7:30, 9 pm $20• Alfredo Colón’s Blood Burden Roulette 8 pm $30• Mara Rosenbloom, Gabby Fluke-Mogul, Tcheser Holmes; Stephen Gauci,
Santiago Leibson, Adam Lane, Colin Hinton; Kevin Shea, Jonathan Goldberger,
Michael Eaton, Max Kutner
Scholes Street Studio 7:30 pm $20
êMichael Blake Quartet with Allan Mednard, Ed Cherry, Tony Scherr		
Smalls 7:30, 9 pm $20• Edmar Castañeda Quartet
Trinity Wall Street 1 pmêJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits				
Village Vanguard 8, 10 pm $40
êLuis Perdomo Trio with Ugonna Okegwo, Adam Cruz		Zinc Bar 7, 8:30 pm $35

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 39

Wednesday, November 23• Akiko Tsuruga Trio
333 Lounge 7:30, 9:30 pm• Liz and Ann Hampton Callaway 54 Below 7 pm $70-145• David Weiss
Bar Bayeux 8, 9:30 pm• Luca Benedetti Trio with Tony Scherr, Tony Mason

		
Bar Lunàtico 8:30, 10 pm $10êKen Peplowski Quartet
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night with Gary Mazzaroppi, Vince Cherico andguest Bill Charlap
Birdland Theater 8:30 pm $30
êEddie Palmieri
Blue Note 8, 10:30 pm $45• Saul Rubin Trio
Cellar Dog 7 pm $10êWycliffe Gordon International All-Stars with Adrian Cunningham, Ehud Asherie,
Yasushi Nakamura, Alvin AtkinsonDizzy’s Club 7:30, 9:30 pm $25-45• Champion Fulton Trio with Hide Tanaka, Fukushi Tainaka; Nick Hempton Band		The Django 7:30, 10:30 pm• Mind Open Quartet
Fiction Bar/Café 9 pm
• Underground Horns
Groove Bar & Grill 7 pm
• Antonio Ciacca
Mezzrow 7:30, 9 pm $20
êMingus Big Band
Midnight Theatre 7, 9:30 pm $65-75• Calvin Johnson’s A Love Letter to Harlem
		
Minton’s 7, 9:30 pm $25• Jill McCarron
Pierre Hotel 6 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êNate Jones
Smalls 7:30, 9 pm $20• Lezlie Harrison Quintet with Antoine Drye, Yoshi Waki, John di Martino, Russell Carter		
Smoke 7, 9 pm $25
êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits				
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

BOOMSLANGNEW MUSIC FROM

RICH HALLEY

BOOMSLANG IS THE
NEW RECORDING BY
RICH HALLEY,FEATURING A
QUARTET WITHLOS ANGELES CORNETISTDAN CLUCAS,
CANADIAN BASSIST
CLYDE REED AND
LONGTIME DRUMMERCARSON HALLEY.
RECORDED IN OREGON
IN DECEMBER 2019,
BOOMSLANG FEATURESA MIX OF HALLEYCOMPOSITIONS ANDSPONTANEOUS
IMPROVISATIONS THATSHOWCASE THE DEPTH
AND INVENTIVENESS OF
THE GROUP’S PLAYING.

Thursday, November 24• Liz and Ann Hampton Callaway 54 Below 8 pm $70-145• Terry Waldo’s Gotham City Band Arthur’s Tavern 7 pmêKen Peplowski Quartet

Birdland 7, 9:30 pm $40• Jinjoo Yoo Quartet with Stefano Doglioni, Kihong Jang, Chris Haney		
Birdland Theater 8:30 pm $30
êEddie Palmieri
Blue Note 8, 10:30 pm $45• Timothy Norton Group
Diwine 8 pmêWycliffe Gordon International All-Stars with Adrian Cunningham, Ehud Asherie,
Yasushi Nakamura, Alvin AtkinsonDizzy’s Club 7 pm $25-45• House of Jade: Vuyo Sotashe, Jenn Jade, Benny Benack III, Nicole Glover,Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm
• Eric Yves Garcia
Pierre Hotel 6 pmêGiveton Gelin
Smalls 7:30, 9 pm $20
êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits		
Village Vanguard 8, 10 pm $40

		Drom 7 pm $25• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 8 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko, Dave Miller
		
The Keep 9 pm
• Andrea Wolper Trio with Michael Howell, John Lang		North Square Lounge 12:30, 2 pm
• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20
êJohn Zorn’s New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen		
Roulette 8 pm $40• Miki Yamanaka Trio
Saint Peter’s Church 5 pm
• Dmitry Baevsky
Smalls 7:30, 9 pm $20
êBlack Art Jazz Collective: Jeremy Pelt, Wayne Escoffery, James Burton III, Victor Gould,
Rashaan Carter, Mark Whitfield, Jr. Smoke 7, 9, 10:30 pm $40-60
êJason Moran solo
Village Vanguard 3 pm $40
êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits				
Village Vanguard 8, 10 pm $40• Carpathian Impressions: László Borbély, Éva Polgár, Gábor Varga
		
Zankel Hall 7:30 pm $44-64

Monday, November 28• Grove Street Stompers
Arthur’s Tavern 7 pm
• Paul Jones Quartet
The Belfry 7 pm
• Wayne Escoffery Trio
Cellar Dog 7 pm $10• Armstrong Now: Matthew Whitaker/Alain “Hurrikane” Lauture		Dizzy’s Club 7:30, 9:30 pm $25-45
êBrian Charette Quintet; Sarah Hanahan Quintet
		
The Django 7:30, 10:30 pm• Rico Jones Quartet
Fiction Bar/Café 9 pm
êEd Palermo
Iridium 8:30 pm $35• Dmitry Baevsky
Mezzrow 7:30, 9 pm $20• Aaron Comess Group with Teddy Kumpel, Richard hammond, Keith Loftis,
Leon Gruenbaum
Rockwood Music Hall Stage 1 10 pmêKirk Knuffke Trio with Matthew Shipp, Michael Bisio		
Roulette 8 pm $30• Joe Farnsworth
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, November 29• The Journey of Jazz: Peter and Will Anderson with Bruce Harris, Wayne Tucker,

Arthur’s Tavern 7 pm
Birdland 5 pm $30
êKen Peplowski Quartet
Birdland 8:30, 10:30 pm $40
êSheila Jordan Trio
Birdland Theater 8:30 pm $30
êEddie Palmieri
Blue Note 8, 10:30 pm $45• Stacy Dillard; Russell Hall
Café Bohemia 7, 9, 10:30 pm 12 am $20• Milton Suggs Quartet; Mariel Bildsten Quartet
		
Cellar Dog 7, 11:30 pm $10êWycliffe Gordon International All-Stars with Adrian Cunningham, Ehud Asherie,
Yasushi Nakamura, Alvin AtkinsonDizzy’s Club 7:30, 9:30 pm $25-45• Calvin Johnson
Dizzy’s Club 11:15 pm $15• Erena Terakubo Quartet; Freddie Deboe Band; Eitan Kenner		
The Django 7:30, 10:30 pm 1 amêLeo Genovese Trio with Giuseppe Cucciara, Jeff Williams
		
Fiction Bar/Café 9 pm
• Max Pollak Group with Felipe Fournier, Alexis Cuadrado		
The Jazz Gallery 7:30, 9:30 pm $30-40• Alexander Leonard/Jay Leonhart Knickerbocker Bar & Grill 9 pm $3.50• Jill McCarron
Pierre Hotel 6 pm
• Jamile Staevie Ayres; Alex Kautz Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25• Greg Abate
Smalls 7:30, 9 pm $20
êBlack Art Jazz Collective: Jeremy Pelt, Wayne Escoffery, James Burton III, Victor Gould,
Rashaan Carter, Mark Whitfield, Jr. Smoke 7, 9, 10:30 pm $40-60
êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits				
Village Vanguard 8, 10 pm $40

Neal Miner, Paul Wells, Dalton Ridenhour		59E59 Theaters 7 pm $40-65• Diego Voglino Jam Session
Bar Bayeux 8 pmêLeo Genovese Group with Rodolfo Zanetti, Danielle Germani, Agustin Uriburu,
Juan Chiavassa
Bar Lunàtico 8:30, 10 pm $10• Tony Glausi Band
Birdland 7, 9:30 pm $30• Loston Harris/Gianluca Renzi Birdland Theater 5:30 pm $30
êVince Giordano and The Nighthawks
		Birdland Theater 8:30 pm $30
êBill FrisellBlue Note 8, 10:30 pm $45• Johnny O’Neal Trio
Cellar Dog 7 pm $10êManuel Valera’s New Cuban Express Big Band with Brian Pareschi, David Smith,
Stuart Mack, Alex Norris, Michael Thomas, Patrick Cornelius, Jeremy Powell,
Charles Pillow, Andrew Gutauskas, Mike Fahie, Matt McDonald, John Yao, Jeff Nelson,
Hamish Smith, Jimmy Macbride, Keisel Jimenez		Dizzy’s Club 7:30, 9:30 pm $25-45• Samuel Torres Quintet; Los Hacheros		
The Django 7:30, 10:30 pm• Hans Luchs Quartet
Fiction Bar/Café 9 pm
• Jinjoo Yoo
Hortus NYC 7 pmêAdam Holzman with Franz Hackl, Jane Getter, Arjun Bruggeman
		Kostabi World 7 pm $40• Kevin Sun Trio with Walter Stinson, Kayvon Gordon
		
Lowlands 8, 9:30 pm• Alicyn Yaffee
Mezzrow 7:30, 9 pm $20
êBrian Charette Trio
Ornithology Jazz Club 9 pm
• Takuya Kuroda
Public Records 7:30 pm $30
êAnna Webber/Angela Morris Big Band with Jay Rattman, Caroline Davis, Adam Schneit,
Lisa Parrott, John Lake, Jake Henry, Adam O’Farrill, Kenny Warren, Tim Vaughn,
Kalia Vandever, Jen Baker, Jennifer Wharton, Patricia Brennan, Dustin Carlson,
Marta Sanchez, Adam Hopkins, Jeff Davis		Roulette 8 pm $30• Hiromi and PUBLIQuartet
Sony Hall 7 pm $50-65
êChristian McBride’s New Jawn with Josh Evans, Marcus Strickland, Nasheet Waits				
Village Vanguard 8, 10 pm $40• Liz and Ann Hampton Callaway 54 Below 7 pm $70-145• Adam Kolker Duo
Bar Bayeux 6 pm
• Santiago Liebson
Bar Bayeux 8, 9:30 pm• Troy Roberts Trio
333 Lounge 7:30, 9:30 pm• Lorenz Lindner/Julia Santoli
411 Kent 8 pm $15• The Journey of Jazz: Peter and Will Anderson with Bruce Harris, Wayne Tucker,

Friday, November 25• Liz and Ann Hampton Callaway 54 Below 7 pm $70-145êJohnny O’Neal Trio

• Birdland Big Band

Saturday, November 26êBinky Griptite OrchestraêKen Peplowski QuartetêSheila Jordan TrioêEddie Palmieri

Bar Lunàtico 8:30, 10 pm $10
Birdland 8:30, 10:30 pm $40
Birdland Theater 7, 9:30 pm $30
Blue Note 8, 10:30 pm $45• Simon Moullier; Evan Sherman Café Bohemia 7, 9, 10:30 pm 12 am $20• Greg Glassman Quartet; Courtney Wright Quartet
		
Cellar Dog 7, 11:30 pm $10êWycliffe Gordon International All-Stars with Adrian Cunningham, Ehud Asherie,
Yasushi Nakamura, Alvin AtkinsonDizzy’s Club 7:30, 9:30 pm $25-45• Calvin Johnson
Dizzy’s Club 11:15 pm $15• Matt Chertkoff Quartet with Houston Person; Ben Stivers Quartet; Sam Dillon Quartet
		
The Django 7:30, 10:30 pm 1 am
• Mike Moreno’s The Standards From Film Quartet with Micah Thomas, Matt Penman,
Obed Calvaire
The Jazz Gallery 7:30, 9:30 pm $30-40• Alexander Leonard/Jay Leonhart Knickerbocker Bar & Grill 9 pm $3.50
êJC Hopkins Biggish Band
Minton’s 7, 9:30 pm $25• Jill McCarron
Pierre Hotel 6 pmêBlack Art Jazz Collective: Jeremy Pelt, Wayne Escoffery, James Burton III, Victor Gould,
Rashaan Carter, Mark Whitfield, Jr. Smoke 7, 9, 10:30 pm $40-60
êJason Moran and The Bandwagon with Tarus Mateen, Nasheet Waits		
Village Vanguard 8, 10 pm $40

Sunday, November 27• Creole Cookin’ Jazz Band
Arthur’s Tavern 7 pm
• Ferenc Nemeth Trio with Dayna Stephens, Massimo Biolcati

RICHHALLEY.COM• John Lee Quartet; Joe Block Trio The Django 6:30, 9:30 pm• Dan Kurfirst’s Arkinetics; Arun Ramamurthy		Bar Lunàtico 8:30, 10 pm $10êStéphane Wrembel
Barbès 8 pm $20
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• City Rhythm Orchestra
Birdland Theater 5:30 pm $30
êSheila Jordan Trio
Birdland Theater 7, 9:30 pm $30
êTerry Waldo’s Gotham City Band Blue Note 12:30, 2:30 pm $25
êEddie Palmieri
Blue Note 8, 10:30 pm $45• Ned Goold Trio
Cellar Dog 7 pm $10êJuliet Kurtzman/Pete Malinverni Chelsea Table & Stage 7 pm $20
êWycliffe Gordon International All-Stars with Adrian Cunningham, Ehud Asherie,
Yasushi Nakamura, Alvin AtkinsonDizzy’s Club 5, 7:30 pm $25-45

40 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD

Wednesday, November 30

Neal Miner, Paul Wells, Dalton Ridenhour		59E59 Theaters 7 pm $40-65
êMatt Mitchell Trio with Kim Cass, Kate Gentile		
Bar Bayeux 8, 9:30 pmêEri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi		Bar Lunàtico 8:30, 10 pm $10• Kurt Elling/Danilo Pérez
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30• Tribute to Vic Juris: Kate Baker Birdland Theater 8:30 pm $30
êBill FrisellBlue Note 8, 10:30 pm $45• Jason Tiemann; Joe Peri
Café Bohemia 7, 8:30, 10, 11:30 pm $10• Organ Grooves
Cellar Dog 7 pm $10êUlysses Owens, Jr. Big Band with Sarah Hanahan, Sophia Kickhofel, Diego Rivera,
Nicole Glover, Andy Gutauskas, Eric Miller, Gina Benalcazar, Seth Weaver, Andrew Kim,
Benny Benack III, Walter Cano, David Sneider, Noah Halpern, Luther Allison,
Philip Norris
Dizzy’s Club 7:30, 9:30 pm $25-45• Rachel Z Trio; Sachal Vasandani The Django 7:30, 10:30 pmêMike Stern
Drom 8 pm $25• Ryan Slatko
Fiction Bar/Café 9 pm
• Jazz Composers’ Showcase Vol. 17: Ben Kono, Ethan Helm, Jeremy Powell,
John Lowery, Jay Rattman, Roger Garcia Jr., Josh Deutsch, David Adewumi,
Andrew Stephens, Nick Grinder, Jasim Perales, Sam Blakeslee, Jennifer Wharton,
Tammy Huynh, Martha Kato, Olli Hirvonen, Evan Gregor, John Sturino
		
The Jazz Gallery 7:30, 9:30 pm $20-30• Mike Holober
Mezzrow 7:30, 9 pm $20
êMingus Big Band
Midnight Theatre 7, 9:30 pm $65-75• Calvin Johnson’s A Love Letter to New Orleans		
Minton’s 7, 9:30 pm $25• Kathleen Landis
Pangea 7 pm $25• Jill McCarron
Pierre Hotel 6 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Sean Nowell
Smalls 7:30, 9 pm $20• Laurin Talese
Smoke 7, 9 pm $25• Hiromi and PUBLIQuartet
Sony Hall 7 pm $50-65
êChristian McBride’s New Jawn with Josh Evans, Marcus Strickland, Nasheet Waits				
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

100 MILES OUT
CONNECTICUT
11/2 (6:30 pm) Corinthian Jazz Band
11/4, 11/11, 11/18, 11/25 (7 pm) Bill’s Allstar Jazz Band
Bill’s Seafood (Westbrook, CT) www.billsseafood.com
11/2, 11/9, 11/16, 11/23, 11/30 (7 pm) Hartford Jazz Society presents Jazz JamBlack-Eyed Sally’s Southern Kitchen & Bar (Hartford, CT) www.blackeyedsallys.com
11/5 (8 pm) Ken Serio Trio
11/12 (8 pm) Leala Cyr
11/17 (7 pm) Ryan Sands Trio
Buttonwood Tree Performing Arts Center (Middletown, CT) www.buttonwood.org
11/18 (8 pm) Alex Tremblay; The Dwonztet; Nick Di Maria & Indigo
Seven Café Nine (New Haven, CT) www.cafenine.com
11/7, 11/14, 11/21, 11/28 (7:30 pm) Hartford Jazz Orchestra
Elicit Brewery (Manchester, CT) www.elicitbrewing.com
11/2 (7:30 pm) David Chevan, Rex Cadwallader, Will Cleary
Garner Hall (New Haven, CT) www.southernct.edu
11/6, 11/13, 11/20 (2 pm) Dave Santoro, Larry Ham, Tom Molito
Gilson Café & Cinema (Wilsted, CT) www.gilsoncafecinema.com
11/11 (7:30 pm) Taylor McCoy + Michael Carabello
Hartford Flavor Company (Hartford, CT) www.hartfordflavor.com
11/18 (8 pm) Samara Joy
Jorgensen Center for the Performing Arts (Storrs, CT) www.jorgensen.uconn.edu
11/2 (7 pm) Bill Crow with Dave Childs, Roger Post
11/9 (7 pm) Howard Britz Trio with Don Falzone, Eric Halvorson
11/16 (7 pm) Swing Du Jour Gypsy Jazz with Howie Bujese Carlough, Jamie Doris,
Daniel Elias, Norman Plankey
11/30 (7 pm) Tim Dehuff Quartet with Rob Aries, Dave Anderson, Tyger MacNeal
La Zingara (Bethel, CT) www.lazingara.com
11/7 (6 pm) Nat Reeves with Josh Bruneau, Matt DeChamplain, Molly Sayles
Local @Parkville Market, The (Hartford, CT) www.parkvillemarket.com/vendor/the-local
11/2, 11/9, 11/16, 11/23, 11/30 (9 pm) Hawkins Jazz Collective
Owl Shop (New Haven, CT) www.owlshopcigars.com
11/4 (7/9 pm) Sally Terrell Quartet
Palace Theater Poli Club (Waterbury, CT) www.palacetheaterct.org/shows/jazz
11/11 (8 pm) Michael Sarian Quartet with Santiago Leibson, Marty Kenney, Nathan Ellman-Bell
Parkville Sounds (Hartford, CT) www.parkvillesounds.com
11/13 (2:30 pm) Matthew Shipp with Anna Webber, Joe Morris
Real Art Ways (Hartford, CT) www.realartways.org
11/4 (8:30 pm) Maria De Angelis with Michael Kanan Trio
11/5 (8:30 pm) Alan Broadbent Trio with Harvie S, Billy Mintz
11/11 (8:30 pm) Russell Malone Quartet with Rick Germanson, Vincent DuPont, Neal Smith
11/12 (8:30 pm) Davie Pietro with Gary Versace, Johannes Weidenmueller, Kendrick Scott
11/18 (8:30 pm) Benito Gonzalez Trio with James Genus, Jeff “Tain” Watts
11/19 (8:30 pm) Matt Dwonszyk’s Dwonztet with Kris Allen, Shenel Johns,
Benito Gonzales, Jonathan Barber
11/25 (8:30 pm) Matthew Parrish Quartet with Houston Person
11/26 (8:30 pm) Jochen Rueckert Trio with Brian Charette, Troy Roberts
The Side Door (Old Lyme, CT) www.thesidedoorjazz.com
NEW JERSEY
11/5 (7:30 pm) Billy Martin solo
Blackbox PAC (Englewood, NJ) www.blackboxpac.com
11/21 (8 pm) James Gibbs III with T.K. Blue
The Brightside Tavern (Jersey City, NJ) www.brightsidetavernmenu.com
11/4 (7:30/9:15 pm) Craig Handy Trio
11/11 (7:30/9:15 pm) Calvin Hill Trio
11/18 (7:30/9:15 pm) T.K. Blue “Hue Of Bluu”
11/25 (7:30/9:15 pm) James Gibbs III Quartet
Brothers Smokehouse (Ramsey, NJ) www.brotherssmokehousenj.com
11/5 (3:30 pm) Lars Haake
11/12 (3:30 pm) Matt Parrish
11/19 (3:30 pm) Akiko Tsuruga
11/26 (3:30 pm) Duane Eubanks
Candlelight Lounge (Trenton, NJ) www.candlelighteventsjazz.com
11/3 (7:30 pm) Brian Betz Quartet with Behn Gillece
Collingswood Community Center (Collingswood, NJ) www.jazzbridge.org
11/19 (12 pm) Aubrey Johnson with Randy Ingram, Matt Aranoff, Jimmy MacBride
Count Basie Center’s The Vogel (Red Bank, NJ) www.thebasie.org
11/20 (11 am/1 pm) Vanessa Rubin Trio
Dorthaan’s Place @Nico Kitchen + Bar (Newark, NJ) www.njpac.org
11/12 (8 pm) Yvonnick Prene Trio with Greg “Organ Monk” Lewis, Colby Inzer
Flemington DIY (Flemington, NJ) www.flemingtondiy.org/jazz
11/3, 11/4, 11/5 (7 pm) Jazz at the Point 2022 Festival Commemorating Pat Martino:
Tony Monaco, Eric Alexander, Jeff “Tain” Watts, Chico Pinheiro,
Fareed Haque, Kenwood Dennard, Jim Ridl, Sheryl Bailey,
Byron Landham, Joel Harrison, Russell Malone, Rick Germanson,
Charlie Apicella, Jimmy Bruno, Carmen Intorre, Pat Bianchi,Paul Bollenback, Alex Norris, Nicole Glover, Dave Stryker, Mark Whitfield
Gateway Playhouse (Somers Point, NJ) www.southjerseyjazz.org
11/6 (4 pm) Miguel Zenon/Luis Perdomo
JazzNights at Jones/Hockaday Barn (Hopewell, NJ) www.jazznightsprinceton.com
11/5 (5 pm) T.K. Blue with S.O.L.E.
Miller Branch Library (Jersey City, NJ)
www.jclibrary.org/locations-a-hours/regional-branches/miller-branch
11/12 (6 pm) Jon Faddis Quartet
New Jersey Performing Arts Center @Bethany Baptist Church (Newark, NJ) www.njpac.org

11/10 (8 pm) Fantasia with Jazzmeia Horn
New Jersey Performing Arts Center @Prudential Hall (Newark, NJ) www.njpac.org
11/10 (7:30 pm) Terence Blanchard The E-Collective, Turtle Island Quartet
11/12 (3/7:30 pm) Dee Dee Bridgewater & Savion Glover New Jersey
11/13 (7 pm) Yellowjackets
11/18 (7 pm) NJMEA All-State Jazz Band/NJMEA All-State Jazz Choir
11/19 (3/7:30 pm) Maria Schneider Orchestra
11/20 (3 pm) Sarah Vaughan International Jazz Vocal Competition with Kristin Lash,
Ekep Nkwelle, Lucía Guiérrez Rebolloso, Allan Harris, Lucy Yeghiazaryan
Performing Arts Center @Victoria Theater (Newark, NJ) www.njpac.org
11/2 (7 pm) Olli Soikkeli Trio with Paul Sikivie, Joe Peri
11/3 (7 pm) Mark Wade Trio with Roberta Piket, Scott Nuemann
11/11 (7 pm) John Lee with Freddie Hendrix, Karl Latham & Friends
11/18 (7 pm) Dave Stryker Trio
11/25 (7 pm) Eric Mintel Quartet’s “Vince Guaraldi & The Holidays”
Shanghai Jazz (Madison, NJ) www.shanghaijazz.com
11/13 (4 pm) Jazz Room Series presents James Chirillo with Jon-Erik Kellso,
Evan Christopher, Harvey Tubbs, Jerome Jennings
11/20 (4 pm) Jazz Room Series presents Immanuel Wilkins
Shea Center for the Performing Arts @William Paterson University (Wayne, NJ)
www.wpunj.edu/wppresents/jazz-room-series
11/19 (8 pm) Giants of Jazz 23 “Honoring Rufus Reid”
South Orange Performing Arts Center (South Orange, NJ) www.sopacnow.org
11/1 (7/8:30 pm) Ariana Sowa Quintet
11/3 (7/8:45 pm) Mark Gross Quartet
11/8 (7/8:30 pm) Matt Renzo Quartet
11/10 (7/8:45 pm) Nat Adderley, Jr. Quartet
11/15 (7/8:30 pm) Donald Solomon Quartet
11/7 (7/8:45 pm) Victor Jones Quartet
11/22 (7/8:30 pm) Angelina Kolobukhova Quartet
11/29 (8/8:30 pm) Dominick Dzietczyk Quintet
Tavern on George (New Brunswick, NJ) www.tavernongeorge.com
NEW YORK
11/4 (7 pm) Victor LaGamma Trio
11/5 (7:30 pm) Peter Hand Trio with Lewis Porter, Yuriy Galkin
11/11, 11/25 (7 pm) Dinah Vero
11/12, 11/26 (7:30 pm) Leslie Pintchik Trio with Scott Hardy, Michael Sarin
11/19 (7 pm) Brazilwood Trio with Geoffrey Morrow, Tim Bayless, Joey “B”
Alvin & Friends (New Rochelle, NY) www.alvinandfriendsrestaurant.com
11/5 (6 pm) Nat Reeves Trio
11/11 (6 pm) Dos Belos with Marc Beladino, Paul Beladino, Jon Liebowitz, Dan Pifer, Matthew Norris
11/12 (6 pm) Valerie Capers Quartet with John Robinson, Alan Givens, Doug Richardson
11/19 (6 pm) Nova Blue with Al Acosta, Charlie Alletto, Glen Lowe, Joe Mannozzi,
Thomas Martin Lopez, Mike Viñas
11/20 (4 pm) Acute Inflections
11/26 (6 pm) Premik’s World Music Ensemble
Bean Runner Café (Peekskill, NY) www.beanrunnercafe.com
11/3 (7:30 pm) Teri Roiger with Sharp 5: Pete Levin, John Menegon, Jeff Siegel, Nanny Assis
Bearsville Theater (Woodstock, NY) www.bearsvilletheater.com
11/5 (7:30/8:45 pm) Gerry Malkin Jazz Collective with Tuomo Uusitalo, Chris Morrison,
Mike McGuirk, Bobby Leonard
11/19 (7:30/8:45 pm) Eric Puente Quintet with Jennie Colabatistto, Sarah Cion,
Rich Williams, Ben Basile
Elk’s Lodge (Ossining, NY) www.jazzatthelodge.com
11/19 (8 pm) Alexis Marcelo with Daniel Carter, JD Parran
Elysium Furnace Works @Howland Cultural Center (Beacon, NY)
www.facebook.com/elysiumfurnaceworks
11/12 (8 pm) Robin Holcomb + Wayne Horvitz with Sara Schoenbeck
Elysium Furnace Works @St. Andrew’s Church (Beacon, NY)
www.facebook.com/elysiumfurnaceworks
11/20 (7 pm) Bill Frisell Trio with Thomas Morgan, Kenny Wollesen
Emelin Theatre (Mamaroneck, NY) www.emelin.org
11/4 (7 pm) Pierre Bensusan
11/6 (7 pm) Jazz Coalition presents Tim Berne, Gregg Belisle-Chi
11/13 (7 pm) Steven Bernstein’s Millennial Territory Orchestra
11/17 (7 pm) Juma Sultan’s Aboriginal Music Society
11/19 (7 pm) Jay Collins & Midnight Ramble Horns with Scott Sharrard, Tony Leone,
Steven Bernstein, Cochemea Gastelum, Scott Milici, Kyle Esposito
11/20 (7 pm) Jazz Coalition presents Helen Sung
The Falcon (Marlboro, NY) www.liveatthefalcon.com
11/3 (8 pm) Gabrielle Stravelli with Art Hirahara, John Lang
11/10 (8 pm) Dawn Meloday with Mark Capon, Alex Gressel
11/17 (8 pm) Chris Byars with John Merrill, John LangFirst Name Basis at Divino Cucina (Hastings-on-Hudson, NY)
www.facebook.com/FNBhastingsny
11/6 (4 pm) Creative Music Improvisers Orchestra with Karl Berger, Billy Martin
Handbell Studio at The Shirt Factory (Kingston, NY) www.creativemusic.org
11/4-11/5 (7/9:30 pm) Tito Puente, Jr. Latin Jazz Ensemble
11/6 (4/6 pm) Ed Cherry Trio
11/11-11/12 (7/9:30 pm) Ray Blue Quintet
11/13 (4/6 pm) Richard Boukas & Louis Arques
11/18-11/19 (7:30/9:30 pm) David Amram at 92
11/20 (4/6 pm) CeCe Gable with Roni Ben-Hur, Harvie S, Matt Wilson
11/25-11/26 (7/9:30 pm) Duduka Da Fonseca Samba Jazz with Maucha Adnet
11/27 (4/6 pm) Mark Sherman Quartet with Joe Magnarelli, Dean Johnson, Tim Horner
Jazz Forum Arts (Tarrytown, NY) www.jazzforumarts.org
11/2 (1 pm) Tom Manuel and Young at Heart Trio Blossom Dearie Tribute11/3 (7 pm) Jazz Loft Big Band with Tom Manuel
11/4-11/5 (7 pm) “Sinatra Las Vegas Revue” with Pete Caldera, Danny Bacher, Tom Manuel
11/17 (7 pm) Bad Little Big Band with Madeline Kole, Rich Iacona
11/18 (7 pm) “Drum Summit”
11/19 (7 pm) Eldad Tarmu
11/22 (7 pm) Amadis Dunkel
11/28 (7 pm) Stony Brook University Blowage Big Band with Ray Anderson, Tom Manuel
The Jazz Loft (Stony Brook, NY) www.thejazzloft.org

11/3 (8 pm) Thomas Linger Trio
11/4 (7/9 pm) Imani Rousselle
11/5 (7/9 pm) Marissa Mulder with Bill Zeffiro
11/10 (8 pm) Slideattack
11/11 (7/9 pm) Lauren Henderson
11/12 (7/9 pm) Nicole Zuraitis Quartet
11/17 (8 pm) Art Lillard On Time Trio
11/18 (7/9 pm) Andromeda Turre
11/19 (7 pm) Peter Calo Band
11/25 (7:30/9 pm) Misha Piatigorsky Trio
11/26 (7/9 pm) Giacomo Gates Trio
Jazz on Main (Mt. Kisco, NY) www.jazzonmain.com
11/15 (7 pm) Jazzstock presents John Menegon’s “Sound Embrace” with Leo Genovese,
Chet Doxas, Lamy Istrefi
Jazzstock @ Senate Garage (Kingston, NY) www.jazzstock.com
11/12 (7 pm) Matt Finck with Jay Anderson, Tony Jefferson
Lydia’s Café (Stone Ridge, NY) www.lydias-cafe.com
11/10 (7 pm) The Jazz Dispatch Series presents Steve Salerno, Tom Manuel
Madiron Wine Bar (East Setauket, NY) www.thejazzloft.org
11/4 (8 pm) Bruce Williams Quartet
11/5 (8 pm) Jason Clotter Quartet with Joe Farnsworth
11/5, 11/12, 11/19 (10 pm) David Budway Quintet
11/11 (8 pm) Frank Perowsky Quartet 88th b-day celebration with David Budway,
Jay Anderson, Ben Perowsky + Sarah James; (10 pm) Dawn Melody
11/12 (8 pm) Evan Arntzen/Conal Fowlkes
11/18 (8 pm) Martin Pizzarelli and The Mp3s, (10 pm) Mike Torres Trio
11/19 (8 pm) Kate Baker/Dave Stryker Quartet
11/25 (8 pm) Richard Baratta Quintet with Craig Handy
Maureen’s Jazz Cellar (Nyack, NY) www.maureensjazzcellar.com
11/7 (8:30 pm) Joe McPhee “NOT-Birthday” Celebration with Joe Giardullo,
Michael Bisio, Jay Rosen
11/13 (8 pm) Cross-Cultural Connection Benefit with Ray Blue
11/14 (8:30 pm) Eric Person’s “Music of Ronald Shannon Jackson” with Neil Alexander,
Robert Kopec, Peter O’Brien
11/21 (8:30 pm) Nicole Davis Band
11/28 (8:30 pm) Joseph Vincent Tranchina
Quinn’s (Beacon, NY) www.facebook.com/QuinnsBeacon
11/5, 11/12, 11/19, 11/26 (3 pm) Hal Galper Trio
Rafter’s Tavern (Callicoon, NY) www.rafterstavern.com
11/5 (7 pm) Maeve Gilchrist
Tompkins Corner (Putnam Valley, NY) www.tompkinscorners.org
11/13 (7 pm) The New Monuments with Camille Dietrich, Don Dietrich, Tony Gordon,
Ben Hall + Lemuel Marc solo
Tubby’s (Kingston, NY) www.tubbyskingston.com
11/7, 11/14, 11/21, 11/28 (8pm): Monday Jazz Sessions with John RichmondTurning Point Café (Piermont, NY) www.piermont.club
PENNSYLVANIA
11/2 (7:30 pm) Jill Salkin
Cheltenham Center for the Arts (Cheltenham, PA) www.jazzbridge.org
11/2 (8/9:30 pm) Sean Butkovich Quartet
11/3 (8/9:30 pm) Mike Lorenz Trio
11/4-11/5 (8/10 pm) “Celebrating The Blue Note Years” with Steve Davis, Steve Wilson,
Eric Alexander, Tim Brey Trio
11/8 (8/9:30 pm) Cosmicquartet
11/9 (8/9:30 pm) Temple University Lab Band with Steve Fidyk
11/10 (8/9:30 pm) Eric Binder Trio
11/11 (8/10 pm) Dave Brodie/Victor North Quartet
11/12 (8/10 pm) Lucy Yeghiazaryan with Grant Stewart Quartet
11/15 (8/9:30 pm) Momentum with Clifford Morin
11/16 (8/9:30 pm) Bruce Klauber “Swings Sinatra”
11/17 (8/9:30 pm) Lora Sherrodd Band
11/18 (8/10 pm) Josh Lawrence Quintet
11/19 (8/10 pm) Tony Miceli/Chris Farr Quartet with Paul Bollenback
11/23 (8/9:30 pm) Dan Wilkins Trio with Adrian Moring, Bill Goodwin
11/25 (8/10 pm) Benny Benack III Quintet with Anais Reno, Victor North
11/26 (8/10 pm) Anaïs Reno Quartet with Victor North
11/30 (8/9:30 pm) Beau Django
Chris’ Jazz Café (Philadephia, PA) www.chrisjazzcafe.com
11/3, 11/10, 11/17 (7 pm) Bill Washer & Friends
11/4 (7 pm) Skip & Dan Wilkins Quartet with Tony Marino, Bill Goodwin
11/5 (7 pm) Emily Braden
11/6 (5 pm) Shepard & Main Quintet with Marty Wilson, Julian Rogai, Jeff Plotnick,
Skip Wilkins, Bill Goodwin
11/11 (7 pm) Nancy Reed & Spencer Reed with Tyler Dempsey
11/12 (7 pm) Carolyn Leonhart Trio with Jay Leonhart, Jim Ridl
11/13 (5 pm) Mark Sherman Quartet with Joe Magnarelli, Dean Johnson, Tim Horner
11/18 (7 pm) Erin McClelland Band with Spencer Reed, Tony Marino, Daniel Gonzalez
11/19 (7 pm) Carrie Jackson with Radam Schwartz, Takashi Otsuka, Dave Gibson
11/20 (5 pm) Zach Brock/Jim Ridl
11/25 (7 pm) Co-op Bop with Alan Gaumer, Nelson Hill, Tom Hamilton, Tom Kozic,
Craig Kastelnik, Zach Martin
11/26 (7 pm) Paul Jost Quartet with Jim Ridl, Dean Johnson, Tim Horner
Deer Head Inn (Delaware Water Gap, PA) www.deerheadinn.com
11/7, 11/14, 11/21, 11/28 (5:30-9:30 pm) Tony Williams Quartet
La Rose Jazz Club (Philadelphia, PA) www.jazzclublarose.com
11/17 (8 pm) Fire Museum presents Amirtha Kidambi/Luke Stewart + Lauren Pakradooni
Soloveev Gallery (Philadelphia, PA) www.pageantsoloveev.com
11/7 (8 pm) Fire Museum presents Guðmundur Steinn Gunnarsson + USA Clangers with
Liz Meredith, Shayna Dunkelman & Ben Bennett
The Rotunda (Philadelphia, PA) www.firemuseumpresents.com
11/11 (8 pm) Jamaaladeen Tacuma Coltrane Configurations with Odean Pope,
Marlon Mosez Merriett, Nazir Ebo, June Lopez
11/12 (8 pm) Jamaaladeen Tacuma Quartet with James Carter, Jake Morelli, G.Calvin Weston
11/18, 11/19, 11/20 (8 pm) ELEW
South Jazz Club (Philadelphia, PA) www.southjazzkitchen.com
11/10 (8:30 pm) Ironman Trio
World Café (Philadelphia, PA) www.worldcafelive.com

THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 41

CLU B DI RE CTORY• 181 Cabrini 854 W. 181st Street(212-923-2233) Subway: 1 to 181 Street
www.181cabrininewyork.com• 333 Lounge 333 Flatbush Avenue(718-399-8008) Subway: B, Q to Seventh Avenue
www.333lounge.com• 411 Kent 411 Kent Avenue
Subway: J, M, Z to Marcy Avenue
www.411kent.org• 440Gallery 440 Sixth Avenue, Brooklyn(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com• 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• 59E59 Theaters 59 East 59th Street(212-753-5959) Subway: 4, 5, 6 to 59th Street
www.59e59.org• Alianza Dominicana Cultural Center 530 W. 166th Street(917-242-0811) Subway: 1, A, C to 168th Street
www.facebook.com/ADCC530• The Appel Room 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• Arthur’s Tavern 57 Grove Street(212-675-6879) Subway: 1 to Christopher Street
www.arthurstavern.nyc.com• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street
www.barbayeux.com• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues
www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue
www.barbesbrooklyn.com• The Belfry 222 E. 14th Street(212-473-6590) Subway: L to Third Avenue
www.belfrynyc.com• Birdland and Birdland Theater 315 W. 44th Street(212-581-3080) Subway: A, C, E, to 42nd Street
www.birdlandjazz.com• Blank Forms 468 Grand Avenue, 1D
Subway: C to Clinton-Washington Avenues
www.blankforms.org• Bloomingdale School of Music 323 W. 108th Street(212-663-6021) Subway: 1 to Cathedral Parkway
www.bsmny.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• Brooklyn Bowl 61 Wythe Avenue(718-963-3369) Subway: L to Bedford Avenue
www.brooklynbowl.com• Café Bohemia 15 Barrow Street
Subway: 1 to Christopher Street www.
www.cafebohemianyc.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• Church of the Blessed Sacrament 152 W. 71st Street(212-877-3111) Subway: 1, 2, 3 to 72nd Street
www.blessedsacramentnyc.org• City Winery 25 11th Avenue (at 15th Street)(646-751-6033) Subway: A, C, E to 14th Street
www.citywinery.com• Clemente Soto Velez Cultural Center 107 Suffolk Street
Subway: F, J, M, Z to Delancey Street
www.csvcenter.com• The Cutting Room 44 E. 32nd Street(212-691-1900) Subway: 6 to 33rd Street
www.thecuttingroomnyc.com• David Geffen Hall 10 Lincoln Center Plaza at 65th Street(212-875-5030) Subway: 1 to 66th Street - Lincoln Center
www.lincolncenter.org/venue/david-geffen-hall• 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 DiMenna Center 450 W. 37th Street(212-594-6100) Subway: A, C, E to 34h Street-Penn Stationwww.dimennacenter.org• Diwine 41-15 31st Avenue(718-777-1355) Subway: E, M, R to 46th Street
www.diwineonline.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• Eli’s Table 1413 Third Avenue(212-717-9798) Subway: 6 to 77th Street
www.elizabar.com/Elis-Table.aspx• Entwine Wine Bar 765 Washington Street(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Street
www.entwinenyc.com• Fiction Bar/Café 308 Hooper Street(718-599-5151) Subway: M, J to Hewes Street
www.fictionbk.com• Flushing Town Hall 137-35 Northern Boulevard, Flushing(718-463-7700) Subway: 7 to Main Street
www.flushingtownhall.org• Funkadelic Studios 209 W. 40th Street(212-696-2513) Subway: 1, 2, 3, 7, A, C, E, N, Q, R to 42nd Street-Times Squarewww.funkadelicstudios.com• 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• Groove Bar & Grill 125 MacDougal Street(212-254-9393) Subway: A, B, C, D, E, F, V to W. 4th Street
www.clubgroovenyc.com• Hermana 349 E. 13th Street
Subway: L to First Avenue
www.hermananyc.com• Hortus NYC 271 Fifth Avenue(646-858-3784) Subay: N, Q, R, Q to 28th Street
www.hortusnyc.com• Hostos Center 450 Grand Concourse(718-518-6700) Subway: 2, 4, 5 to 149th Street
www.hostos.cuny.edu• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue
www.ibeambrooklyn.com• Industry City 220 36th Street(718-965-6450) Subway: D, N, R to 36th Street
www.industrycity.com• Interchurch Center 475 Riverside Drive at 120th Street
Subway: 1 to 116th Street
www.interchurch-center.org• Iridium 1650 Broadway at 51st Street(212-582-2121) Subway: 1,2 to 50th Street
www.theiridium.com• Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens(718-658-7400 ext. 152) Subway: E to Jamaica Center
www.jcal.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.jmih.org• The Keep 205 Cypress Avenue, Queens(718-381-0400) Subway: L to Jefferson Street
www.thekeepny.com• Kismat 603 Fort Washington Avenue(212-795-8633) Subway: 1 to 191st Street
www.kismatny.com• Kitchen at Cobble Hill 254 Court Street(347-599-1887) Subway: F, G to Bergen Street
www.kitchenatcobblehill.com• 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• Le Chéile 839 W. 181st Street(212-740-3111) Subway: A to 181st Street
www.lecheilenyc.com• Lowlands 543 Third Avenue, Brooklyn(347-463-9458) Subway: R to Prospect Avenue
www.lowlandsbar.com• Manhattan School of Music Miller Recital Hall Broadway and 122nd Street(212-749-2802) Subway: 1 to 116th Street
www.msmnyc.edu• Manhattan School of Music Neidorff-Karpati Hall
Broadway and 122nd Street(212-749-2802, ext 4428) Subway: 1 to 116th Street
www.msmnyc.edu• Merkin Concert Hall 129 W. 67th Street between Broadway and Amsterdam(212-501-3330) Subway: 1 to 66th Street-Lincoln Center
www.kaufman-center.org• 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• Midnight Theatre 75 Manhattan West Plaza
Subway: 7 to 34th Street-Hudson Yards
www.midnighttheatre.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com• The Museum at Eldridge Street 12 Eldridge Street at Canal Street(212-219-0888) Subway: F to East Broadway
www.eldridgestreet.org• National Arts Club 15 Gramercy Park South(212-475-3424) Subway: 6 to 23rd Street
www.nationalartsclub.org• 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• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street

42 NOVEMBER 2022 | THE NEW YORK CITY JAZZ RECORD• Nublu 151 151 Avenue C
Subway: L to First Avenue
www.nublu.net• The Opera House
288 Berry Street Subway: L to Bedford Avenue• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
www.ornithologyjazzclub.com• The Owl Music Parlor 497 Rogers Avenue, Brooklyn(718-774-0042) Subway: 2, to to Sterling Street
www.theowl.nyc• Pangea 178 Second Avenue(212-995-0900) Subway: L to First Avenue
www.pangeanyc.com• Park Avenue Armory 643 Park Avenue(212-616-3930) Subway: 6 to 68th Street
www.armoryonpark.org• Pierre Hotel Fifth Avenue at 61st Street(212-940-9109) Subway: 4, 5, 6 to 59th Street
www.thepierreny.com• Pioneer Works 159 Pioneer Street, Brooklyn(718-596-3001) Bus: B61
www.pioneerworks.org• The Porch 750A St. Nicholas Avenue(646-895-9004) Subway: A, B, C, D to 145th Street
www.theporchnyc.com• 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• 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• Saggio 827 W. 181st Street(212-795-3080) Subway: A to 181st Street
www.saggionyc.com• 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• Silvana 300 W. 116th Street(646-692-4935) Subway: B, C, to 116th Street
www.silvana-nyc.com• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn(718-398-1766) Subway: A to Nostrand Avenue
www.sistasplace.org• Skirball Center 566 LaGuardia Place at Washington Square(212-992-8484) Subway: B, D, F, V, A, C, E to West 4th Street
www.nyuskirball.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street
www.smallsjazzclub.com• Smoke 2751 Broadway between 105th and 106th Streets(212-864-6662) Subway: 1 to 103rd Street
www.smokejazz.com• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street
www.sonyhall.com• Special Club 43 MacDougal Street
Subway: 1 to Houston Street
www.specialclubnyc.com• Starr Bar 214 Starr Street(718-821-1100) Subway: L to DeKalb Avenue
www.starrbar.com• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street
www.thestonenyc.com• Symphony Space Leonard Nimoy Thalia 2537 Broadway at 95th Street(212-864-5400) Subway: 1, 2, 3 to 96th Street
www.symphonyspace.org• Tenri Cultural Institute 43A W. 13th Street between Fifth and Sixth Avenues
Subway: F to 14th Street
www.tenri.org• Trinity Wall Street 89 Broadway(212-602-0700) Subway: 4 to Wall Street
www.trinitywallstreet.org• Uptown Garrison 821 W. 181st Street(917-261-4680) Subway: A to 181st Street
www.theuptowngarrison.com• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street
www.villagevanguard.com• The Wayland 700 E. 9th Street(212-777-7022) Subway: L to First Avenue
www.thewaylandnyc.com• Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue(212-247-7800) Subway: N, R to 57th Street
www.carnegiehall.org• Zankel Hall 881 Seventh Avenue at 57th Street(212-247-7800) Subway: N, Q, R, W to 57th Street
www.carnegiehall.org• Zinc Bar 82 W. 3rd Street(212-477-8337) Subway: A, B, C, D, E, F to W. 4th Street
www.zincjazz.com

(INTERVIEW CONTINUED FROM PAGE 6)
Innervisions and Talking Book. And Meshuggah is one of
my favorite bands. The Violent Sleep of Reason, which istheir most recent record, is incredible. Destroy, Erase,
Improve is a classic, one of my favorite albums of all
time. Stengah, I love.

JACK DEJOHNETTE

Celebrating His 80th Yearwith a Series of Concerts Presented by:

TNYCJR: Anything else you’d like readers to know?
CS: Nope, I’m easy. Just so long as everybody knowsthat The Menu is coming out November 18th, I believe
the soundtrack will be coming out right around thatsame time. And I have a new drone record called
Chimaera that will be released in November as well. I
believe it’s on the 11th. v
For more information, visit colinstetson.com. Stetson is at
National Sawdust Nov. 3rd. See Calendar.
Recommended Listening:• Colin Stetson–New History Warfare, Vol. 1(Aagoo, 2007)• Colin Stetson/Mats Gustafsson–Stones(Rune Grammofon, 2011)• Colin Stetson–New History Warfare, Vol. 3:
To See More Light (Constellation, 2013)• Colin Stetson–Sorrow (A Reimagining of Gorecki’s
3rd Symphony) (52hz, 2015)• Colin Stetson–All This I Do For Glory (52hz, 2017)• Payton MacDonald, Billy Martin, Elliott Sharp,
Colin Stetson–Void Patrol (Infrequent Seams, 2021)

www.shapeshifterplus.org

November 18th, 2022

Friday 6 pm
Ask ShapeShifter Plus for location
Brooklyn, NY
Members exclusive - Free
$25 live stream - Available for non-members
GENERATIONS SUITE PROJECT A CMA presentation with Ravi Coltrane (tenor
saxophone), Matthew Garrison (bass andelectronics), and Marcus Gilmore (drums andcymbals).

Thursday 8 pm
@ Ulster Performing Arts Center
Kingston, NY$65, $85, $100, $120
$25 live stream - Available

be heard more than Percy France. Especially in today’s
world of playing notes just to play notes. Percy neverplayed a note he didn’t mean. He never played a solo
he didn’t mean. He was always for real.” v

A once-in-a-lifetime concert with legendary Jack
DeJohnette (drums), Jon Batiste (piano) andMatthew Garrison (bass and electronics), withspecial guest Roy Wood Jr. from The Daily Show.

For more information, visit percyfrance.info(LABEL CONTINUED FROM PAGE 11)
A distinctive characteristic of releases in the 2010s
was the metal case the albums came in. “I adopted themetal tins for the Collectors Series when it launched in2013,” says Wastell. “I wanted to use a utilitarian
format, neat and functional but one where the music
was paramount. The sturdiness and weight of the tins
gave each release an air of seriousness. And of course,
there was no dispute, from release to release, that it
was a Confront album, offering up a kind of unity to
the growing catalogue. After six years and reaching the100th release it was a perfect time to stop that format.”
Confront’s latest is from Wastell, Cello-Intern Solos,
using material recorded during his monthly residency
at the Hundred Years Gallery. Perhaps his words about
this monthly series illustrate the aesthetic of the label insome oblique manner: “There is no pressure to‘perform’. This is not a gig. But it’s also not a rehearsal.
Play. Develop a new method. Sounds. Movement. Make
mistakes. Listen. Learn. Leave.” Ultimately Confront
may serve as a conduit through which one can engage
the continuing process of the creative act. v

An homage to the progenitors of the trio while
also looking toward the future

December 15th, 2022

(LEST WE FORGET CONTINUED FROM PAGE 10)

Recommended Listening:• Bill Doggett–Hot Doggett (King, 1952-56)• Jimmy Smith–Home Cookin’ (Blue Note, 1958-9)• Sir Charles Thompson–Sir Charles Thompson and
The Swing Organ (Columbia, 1960)• Freddie Roach–Down To Earth (Blue Note, 1962)• Percy France Trio–I Should Care (Endgame, 1980)• Oliver Jackson–Presents Le Quartet (Black & Blue, 1982)

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THE NEW YORK CITY JAZZ RECORD | NOVEMBER 2022 43