JUNE 2022—ISSUE 242

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

JOE
CHAMBERSMUSIC KEEPS ME GOINGFRANKLONDONJASON KAOHWANGCHRISTIAN
WOLFF

PHIL
SCHAAP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

JUNE 2022—ISSUE 242
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : FRANK LONDON

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : JASON KAO HWANG

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Staff Writers
Duck Baker, Dan Bilawsky,
Stuart Broomer, Robert Bush,
Kevin Canfield, Marco Cangiano,
Thomas Conrad, Pierre Crépon,Ken Dryden, Donald Elfman,
Phil Freeman, Pierre Giroux,
Kurt Gottschalk, Tom Greenland,
George Grella, Anders Griffen,
Tyran Grillo, Alex Henderson,
Robert Iannapollo, Marilyn Lester,
Suzanne Lorge, Marc Medwin,
Jim Motavalli, Russ Musto,
John Pietaro, Joel Roberts,
John Sharpe, Elliott Simon,
Anna Steegmann, Scott Yanow
Contributing Writers
Brian Charette, Mike Cobb, George Kanzler,
Sylvia Levine, Steven Loewy,
Franz Matzner, Monique Ngozi Nri
Contributing Photographers
Shahar Azran, Caroline Conejero,Peter Gannushkin, Alan Nahigian,
Alan Roche, Robert I. Sutherland-Cohen
Fact-checker
Nate Dorward

ON THE COVER : JOE CHAMBERS
ENCORE : CHRISTIAN WOLFFLEST WE FORGET : PHIL SCHAAPLABEL SPOTLIGHT : RED RECORDSVOXNEWS
OBITUARIESFESTIVAL REPORTALBUM REVIEWSEVENT CALENDAR

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by elliott simonby john sharpeby mike cobb
by george grellaby kurt gottschalkby marco cangiano
by suzanne lorge
by andrey henkin

There have been numerous milestones as New York has slowly emerged from the
COVID-19 pandemic. While it is not nearly over, things like relaxed mask mandates,
Costco bringing back food samples and, most important to us, jazz club schedules backto where they were in February 2020 are signs of much-needed hope.
Another milestone comes with the return of the summer festival season, yet anothervictim of the last two years’ worth of isolation. There is the Jazz By The Water Festival
on Governors Island, where percussionist Joe Chambers (On The Cover) will perform.
The New York Klezmer Festival returns to Drom, featuring trumpeter Frank London(Interview). The Vision Festival comes back indoors and violinist Jason Kao Hwang(Artist Feature) will appear several times, including leading his 30-strong string
ensemble. All that complements a full event calendar of shows both in the clubs andconcert halls and in the city’s various open spaces, many presenting music we cover in
our Album Reviews section, including more festivals like the Blue Note Jazz Festival at
the club, Sony Hall, Town Hall and Central Park and Jazztopad Festival at venues
across the city.
While we should still be vigilant, we as a city deserve a nice summer of music after what
we have collectively experienced. So get out there and support live music.

nycjazzrecord.com
On The Cover: Joe Chambers (photo by Alan Nahigian)
Corrections: In last month’s Label Spotlight, the Candid reissues came out officially on Apr. 15thand Eliane Elias won the Grammy for best Latin Jazz album.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 JUNE 2022 | THE NEW YORK CITY JAZZ RECORDJUNE 10–11

JUNE 3–4

CAMILLE THURMAN AND THE
DARRELL GREEN QUARTET
BURT BACHARACH REIMAGINED

Camille Thurman makes her
debut as an Appel Roomheadliner in a new program ofreimagined Burt Bacharachhits, including “The Lookof Love,” “Going Out of My
Head,” and “(They Long toBe) Close to You.”
Generous support for thisconcert is provided by Mary G.
Herms and Ryan J. Marshall.

THE BEST OF
DUKE ELLINGTONThe Jazz at Lincoln
Center Orchestra
with Wynton Marsalis
closes the season
with an evening of
all-Ellington masterpieces.
Ellington’s timeless music
uplifts, enlightens, andrewards first-time listeners
and lifelong fans alike—and
nobody plays it quite likethe JLCO.

PRESENTED AS PART OF THE
ERTEGUN JAZZ CONCERT SERIES

212.721.6500
BROADWAY AT 60 ST., 5TH FL.

TECHUNG TIBETAN ENSEMBLE
WMIClassical Music from Lhasa

KAUFMAN MUSIC CENTER
129 W 67TH STREET, MANHATTANSAT,JUNE 4, 8PM

www.worldmusicinstitute.org The Best in Music and Dance from Around the WorldNEW YORK @ NIGHT
Watching her YouTube videos only hints at what F or the Love of Ron—Ron Carter and Friends: 85th
Bronxite Samara Joy brings to the stage. This point
brought home when the young vocalist debuted at
Apollo Theater ’s upstairs café on a rainy Saturdaynight (May 14th) to a vociferous local crowd (momand dad seated front and center), accompanied byguitarist Pasquale Grasso, bassist Neal Caine anddrummer Keith Balla. Fresh out of SUNY Purchase,about to drop a second CD, Joy is a natural-bornstoryteller, using the bebop idiom to deliver engaging
mercurial narratives interlaced with unusually timed
and twisted threads, all recounted with unpretentious
authority. Opening with “If You Never Fall in Love
with Me” and “Can’t Get Out of This Mood”,
both rendered in a lithe, suggestive style, by the endof “Stardust” Joy had escalated her delivery to a
powerful coda, so powerful she almost seemed toembarrass herself, the crowd now firmly in her
grasp. She sang original lyrics to Fats Navarro’s“Nostalgia”, took another amazing coda on“Guess Who I Saw Today” and sang “April in Paris”(which had one of many fine solos by Grasso) in French
before pairing with Caine on Duke Ellington’s “Just
Squeeze Me”, scatting over the outro vamp, handing
her dad the mic for a cameo and finally enjoining thecrowd to repeat her phrases, each half of the roomcompeting with the other. A tough act to follow, buttopped by Stevie Wonder ’s “Overjoyed”, featuring
a marvelous solo by Caine.
—Tom Greenland

VADIM NESELOVSKYIODESASSC 1667

AVAILABLE 6/17/22…Ukrainian pianist of high technical fluency andfeathery touch..”— New York Times
SOLO CONCERTS (album release)
SALGAMUND CLUB JUNE 17, 2022
THE STONE @ THE NEW SCHOOL JUNE 29, 2022

LUCIAN BANABRAHAM BURTONBLACK SALTSSC 1609

PERFORMING (COVID delayed album release) JUNE 1, 2022
BAR LunÁtico BROOKLYN, NY

ADAM NUSSBBAUM
LEAD BELLYREIMAGINEDSSC 1578

IN STORES

The presentation of the legendary blues man’s visceralmusic in a diverse but flowing set of music is truly a featof inspiration that will do much for the music’s legacy.—
PERFORMING (COVID delayed album release) JUNE 22, 2022
SEEDS BROOKLYN, NY

ALLISON MILLERCARMEN STAAFNEARNESS
SSC 1673

AVAILABLE 7/29/22

Their sonic conversation expresses nearness without
the need for proximity or even words.—
PERFORMING (album release) JUNE 23-26, 2022
BIRDLAND
315 W 44th Street, NYC

www.sunnysiderecords.com

ALAN NAHIGIAN—Down Beat HHHHH ”There is an alluring
timelessness to the music created by pianist Lucian
Ban”—Jackie McLean Institute of Jazz: “Abraham Burton
has developed a reputation as a seasoned musician aswell as an explosive soloist”

SHAHAR AZRAN PHOTOGRAPHY/APOLLO THEATERIN STORES

Birthday Celebration was a joyous homage to themost-recorded jazz bassist in history (over 2,200
individual credits) at a packed Carnegie Hall (May10th). Hosted economically by TV anchorman Lester
Holt, with judiciously brief tributes, including an
acknowledgment of Carter ’s receipt of the Japanese
government’s highest civilian award, The Order of the
Rising Sun, Gold Rays with Rosette, the focus wasappropriately on Carter himself. Reflecting his sixdecade career, he led three combinations of musicians:
trio, quartet and octet, with many of the numbers
Carter originals. The Golden Striker Trio had Donald
Vega (piano) and Russell Malone (guitar); with pianolargely in the background, the delight of the threeselections was the blending and harmonizing of thestring instruments. Among the four tunes offered by
the Foursight Quartet of Jimmy Greene (tenor
saxophone), Renee Rosnes (piano) and Payton Crossley(drums), the highlight was a thrilling and inspired
Rosnes on “My Funny Valentine” (Richard RodgersLorenz Hart). The Octet featured Carter on piccolo
bass, four cellos (his first instrument), Vega, Crossleyand Leon “Boots” Maleson on upright, all contributing
wondrously to six rousing pieces of ‘symphonic’ jazz.
Alone on stage, ending the concert, was Carter with
“You Are My Sunshine”, fully demonstrating the rangeof techniques and virtuosic artistry that make him abona fide living legend.
—Marilyn Lester

Samara Joy @ Apollo Music Cafe

Ron Carter @ Carnegie Hall

In the 1920s, long before the Kings (B.B., Albert, Being a member of the Renee Rosnes Quartet
Freddie), women like “Queen” Mamie Smith, “Mother”
Ma Rainey and “Empress” Bessie Smith ruled theblues. Three reigning divas—Catherine Russell,
Charenée Wade and Brianna Thomas—held court at
On Stage at Kingsborough (May 7th), backed bya crack septet of reedplayer Evan Arntzen, trumpeter
Jon-Erik Kellso, trombonist John Allred, pianist Mark
Shane, guitarist Matt Munisteri, bassist Tal Ronen anddrummer Kevin Dorn. After a slow but spunky
instrumental from the New Orleans Rhythm Kings,“Tin Roof Blues”, Russell came on for a rousing take onher father Luis’ 1931 “Goin’ to Town”. Thomas, still in
her early 20s, sounded like a world-weary soul as shecovered Billie Holiday, Victoria Spivey, Ida Cox andEthel Waters to finish with Bessie Smith’s “I Ain’t Got
Nobody”, showing remarkable range, taste and depth
for her years. Wade, equally gifted but with more life
experience to draw on, joined her for a slow C-blues,
then sang songs by both Smiths, Waters and Alberta
Hunter, including the risqué “Take Your Big Hands
Off”. Russell, the eldest queen, came back out to dueton “I’ve Found a New Baby”, then displayed youthfulvigor and exceptional stage presence on songs by BlueLu Barker, Fats Waller and Virginia Liston, especiallyon latter ’s saucy “You’ve Got the Right Key, But theWrong Keyhole”. For the finale, all three queens
reigned supreme: soloing, harmonizing, tradingphrases and shimmying like princesses.
(TG)

4 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD(Village Vanguard, May 17th) has multiple benefits;
the leader is a virtuosic pianist plus an extremely giftedcomposer. Her “Galapagos” is a masterwork, witha cacophony of sound settling into a swing andthematic riffs laced into a wickerwork of energizing
creative ideas. Chris Potter (soprano saxophone)demonstrated exceptional speed and flexibility while
Rosnes’ playing amounted to the sum being far
greater than its parts. At her core, Rosnes is not only
lyrical, but also one of those artists who are capable ofmaking one instrument sound like an orchestra. Her“Mirror Image” was melodically bop-based, allowing
Potter (now on tenor) to play dynamically up anddown the instrument. Classical training was evident in
Rosnes’ evocative “Kinds of Love”, especially with
its extended solo intro. Potter is an economical player
whose style was deftly reflected on “Now” (Bobby
Hutcherson), a soulful ballad that had him mirroring
Rosnes’ opening mournful solo, before opening up
into the complexities of the piece. Bassist Peter
Washington played effective counterpoint all along theway on “Now”, also demonstrating consistentsensitivity and synergy throughout the set. Similarly,
drummer Carl Allen played perfect support. His calland-response with Potter (tenor) during Rosnes’ “From
Here to a Star” was a special treat. Playout was Joe
Henderson’s “Isotope”, confirming all members as
gloriously in the pocket. 			
(ML)

The fourth night (May 3rd) of his nine-day residency G uitarist Marco Cappelli, an Italian native who

regularly tours the globe, has garnered a certain
renown among New York musicians. His career has
avoided the usual trappings, allowing focus on the
concurrent performance tracks of acoustic classicalguitar and solid-body electric, which embraces snarling
distortion as needed. In each case, his unique repertoire
is empowered by raw, masterful improvisations.
Exciting, new, noir-like space The Atlantic BKLN (May16th) presented Italian Doc Remix, a closer-than-usual
gaze into the Napolitano heart. IDR, founded in 2004,
breeds a cross-section of history in its celebration of
Italian heritage, from the strains of early music throughthe unclassifiably new. Co-led by Cappelli andcelebrated downtown drummer Jim Pugliese, theensemble also had bassist Ken Filiano and clarinetist
Doug Wieselman. Rounded out by trombonist Roberto
Schiano, a soloist flown in from Naples, IDR was themodel of high-performance standards. With rousing
tenor Francesco Pellegrino, whose voice carries anengrossing darkness within, the band painted atapestry of new music, long sections of which were
finely through-composed, threading Italian traditionalsong, pop, film scores and Renaissance music into
Cappelli’s
operatic
melodiesandrapturous
orchestration. But even within this forum, his
compositions bore the burn of indie rock and avant
jazz, reveling through the room’s awe-inspiring soundsystem and oh-so-hip elegance.
—John Pietaro

PHOTO © CAROLINE CONEJERO 2022

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

at Blue Note had 2022 NEA Jazz Master bassist Stanley
Clarke leading an acoustic trio with two fellow
recipients of the august award: pianist Kenny Barronand drummer Billy Hart. The band kicked off thesecond set with Clarke’s “3 Wrong Notes”, a boppish
number at times reminiscent of Charlie Parker ’s“Confirmation”. The band swung tough, Barron
stretching out for a half-dozen choruses over steadfast
walking bass and propulsive drums before Clarke
stepped into the spotlight to deliver a taut, ringing
solo, which gave way to a series of four bar pianodrum exchanges. The mood mellowed with a gently
swaying rendition of Clarke’s old boss Joe Henderson’s
iconic waltz “Black Narcissus”, on which the wellknown melody was played over a steadily bouncing
bassline. Clarke joked that as a prolific composer hewas eventually obliged to write a song for his wife,
noting that the Spanish tinge of the beautiful ballad“La Canción De Sofía”, a showcase for his virtuoso
arco and pizzicato techniques, reflected her
Argentinean and Chilean heritage. Next he called for“500 Miles High”, the Chick Corea classic he played
earlier in the week with Gonzalo Rubalcaba, but an
unsuccessful search for the missing music resulted in a“change of plans…something we all know”, theBronisław Kaper warhorse “Invitation”, for unabashedstraightahead swinging continuing through to thecloser, Ellington’s “Take The Coltrane”. —Russ Musto

Kenny Barron/ Stanley Clarke/Billy Hart @ Blue Note

55Bar, established in 1919 and hosting jazz since 1983, closed
last month due to (what a shock) an incalcitrant landlord raising its
rent to an unsustainable amount. In more positive club news,
Arthur’s Tavern, opened in 1937, reopened last month after
closure during the pandemic, revealing a shmancy renovation.
For more information, visit arthurstavern.nyc.
The latest round of funding from the Robert D. Bielecki
Foundation includes $25K to Pat Thomas “in recognition of his
incomparable artistry and contribution to improvised music”; $10K
to Brandon Lopez for a quartet recording with Craig Taborn, Mat
Maneri and Gerald Cleaver; $10K to Satoko Fujii for her 100thleader concert and album project in NYC on Sep. 20th; $10K for
Arts For Art Oliver Lake Lifetime Achievement Award at Vision
Festival 2022; $6,870 to composer Cassandra Miller for a choral
work in 2023 in collaboration with Louth Contemporary Music
Society, Ireland; $6K to Yarn Wire Institute Summer 2022 and$3,500 to hatART for Albert Ayler Quintet recording Berlin andHelsinki 1966. For more information, visit rdbf.org.
Winners of the 2022 Jazz Journalists Association Jazz Awards
have been announced and include Musician of the Year Jon
Batiste, Up & Coming Musician of the Year Melissa Aldana, Recordof the Year Sounds from the Ancestors—Kenny Garrett (Mack
Avenue), Historical Record of the Year A Love Supreme (Live inSeattle)—John Coltrane (Impulse!) and Record Label of the Year
Mack Avenue. For more information, visit jjajazzawards.org.
The Kitchen’s Annual Gala Benefit honoring Lorraine O’Grady
and George Lewis (recently named Artistic Director of theInternational Contemporary Ensemble) will take place Jun. 8th
with performances by Immanuel Wilkins/Kalia Vandever/Tyshawn
Sorey, OKENYO and more to be announced. For more
information, visit thekitchen.org/event/the-kitchen-gala-benefithonoring-lorraine-o-grady-george-lewis.
The Montreux Jazz Festival has entered in an exclusive
partnership with OneOf for an NFT artwork collection featuring
exclusive works from Montreux Jazz Festival artist alumnus
Camille Walala and Greg Guillemin. For more information, visit
montreuxjazzfestival.com.
Jazz at Lincoln Center announced the three top-placing highschool jazz bands in the 27th Annual Essentially Ellington
High School Jazz Band Competition: First Place: OsceolaCounty School for the Arts (Kissimmee, FL); Second Place:
Foxboro High School (Foxboro, MA); and Third Place: Orange
County School of the Arts (Santa Ana, CA). For more
information, visit 2022.jazz.org/essentially-ellington.

Italian Doc Remix @ The Atlantic BKLN

Celebrating his sophomore Blue Note effort, The G owanus was jubilant, the crowd at Ibeam Brooklyn
Parable of the Poet, with a sold-out show at The Jazz
Gallery (May 13th), vibraphonist Joel Ross fronted
a nonet of young peers: pianist Micah Thomas, bassist
Rick Rosato, drummer Craig Weinrib, flutist Gabrielle
Garo, trumpeter Marquis Hill, alto saxophonist
Immanuel Wilkins, tenor saxophonist Sergio Tabanicoand trombonist Kalia Vandever. The seven-movement,
religiously-inspired suite began with solitary
vibraphone ringing out a five-note melodic motif on“Prayer”, which gradually swelled as it was developedby the ensemble, revealing Ross’ keen sense of harmony
and counterpoint. Solo bass opened “Guilt”,
a mournful feature for Garo, which picked up energy
as Ross soloed over a marching drumbeat. The piecesegued fluidly into “Choices”, Unaccompanied
trumpet was soon joined by alto, the pair blowing
brooding long tones buoyed by malleted toms, giving
the song an ominous sense of mystery, heightened byits persistent repetition and dissonant horn harmonies.
An extended thunderous drum interlude kicked off“Wail”, a John Coltrane-ish outing with Ascensionstyled horns underpinning Wilkins’ intense squall.
Solo trombone linked the song to “The Impetus (To Be
And Do Better)”, a feature for Vandever modulating
between Latin and gospel-tinged segments. Tabanico,Thomas and Ross shared the spotlight, swinging withabandon on “Doxology (Hope)”. The concert concluded
fittingly in a solemn mode with “Benediction”.
(RM)

W H AT ’ S N E W S(May 9th) abuzz. Holding fort were three bands ofimprovisers under the rubric of Gauci Music (“Yes,I’m to blame,” Stephen Gauci blithely offered). The
Symbiotique Group of saxophonist Michael Eaton
boasted downtown flutist Cheryl Pyle, Kansas City
guitarist Seth Davis, bassist Adam Minkoff, Ithaca
drummer Kevin Cheli and guest trumpeter Kyle Quassof Indiana. While the diversity of hometowns ranged
widely, this lineup breathed together in a profoundmanner, raising memories of the legendary New YorkEye and Ear Control soundtrack. From the downbeat,Symbiotique claimed the room, a whisper-going-roar.
Eaton’s wide, bottomy sound shouted praise and angst
and with Quass’ midrange long tones cutting throughDavis’ battery of effects pedals, the sum was faultless.
Minkoff, playing a Longhorn electric bass, pizzicato
and plectrum, tangled with Cheli, a champion of
dynamics, shading and subtlety. Next up, Gauci’s
regular trio with monster bassist Adam Lane (who cansingle-handedly guide an orchestra) and drummer
Kevin Shea: the leader ’s banshee wails, born of classic
New Thing, seemingly resounded over the nearby
dark waters. And Quass’ quartet featured noted
clarinetist/saxophonist Ned Rothenberg and theformidable rhythm section of bassist Matt Pavolka anddrummer Kate Gentile. Rothenberg wove magic at
band’s center, embracing tonality as radically as its
utter liberation. 				(JP)As part of this month’s Vision Festival, Anthology Film Archives
will premiere The Lost Generation: Outside The Mainstream,on Jun. 19th at 7 pm. The film features On Ka’a Davis, Steve
Swell, Ras Moshe, Ken Filiano, Larry Roland, Michael TA
Thompson, Steve Dalachinsky, Hilliard Greene, Dick Griffin,
JD Parran, Marc Edwards, William Parker, Andrew Lamb,Patricia Parker, Michael Dorf, Karen Borca, Ted Daniel, Warren
Smith, Iconoclast, Jackson Krall, Mark Hennen, Craig Harris,
Richard Keene, Mixashawn Rozie and many more. For more
information, visit anthologyfilmarchives.org.
2022 Recipients of the The Instant Award in ImprovisedMusic are Roscoe Mitchell and the DKV Trio. For more
information, visit corbettvsdempsey.com.
New Music USA has announced 112 awardees for the 2022
Creator Development Fund, totaling $335,000. Recipients
include Alexis Cuadrado, Amir ElSaffar, David Fiuczynski,
Freddie Bryant, Harry Allen, Jessica Ackerley, Noah Preminger,
Odean Pope, Rema Hasumi, Sofia Rei, Svetlana Shmulyian
and Yayoi Ikawa. For more information, visit newmusicusa.org.
New Jersey Performing Arts Center announced open
registration for the 11th Annual Sarah Vaughan International
Jazz Vocal Competition. Entries will be accepted before Sep.
6th. For more information, visit sarahvaughancompetition.com.
MoonJune Records has moved its headquarters from New Yorkto Toledo, Spain. For more information, visit moonjune.com.
Last month a ceremony took place to unveil James Edward
Heath Way at 114 Street and 34 Avenue in Corona, Queens.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 5

ALAN ROCHE / COURTESY OF THE ARTISTINTERVIEWFRANKLONDON

FL: He is one of the people who I think about all thetime along with my late teacher, bandleader, colleague
and friend Lester Bowie. These two people reallyinfluenced my music. Thomas was the bridge between
the traditional jazz world and the Downtown avant
garde scene. He was in Lionel Hampton’s band, had
creds and his music was straightahead and bebop. He
had all of that and yet his trio was taking off from
where Henry Threadgill was. He straddled all theseworlds organically and on top of that, he had thisincredible spirituality. Music was not just about genre,modes or technique—and he had all the technique in theworld, that goes without saying—but it was music for		(CONTINUED ON PAGE 39)

by elliott simon
F rank London is a musical alchemist whose myriad projects

have reinvigorated Jewish music. His seminal work with theKlezmer Conservatory Band, Grammy award-winning
Klezmatics and Hasidic New Wave are only the tip ofLondon’s integrative and boundary-smashing musical
corpus. Culturally combinatorial releases, compositions fortheater and dance, film scores, solo projects and operas arepart of a far-reaching body of work in which London respects
tradition but does so in unconventional ways.
The New York City Jazz Record: You once said thatmusically you try to take “A” and “B” and make “C”.
Does that still describe what you do?
Frank London: That’s pretty good, but what’s
important is who I’m with and what the circumstancesare. To put it another way, when I make music I try tolisten very hard and interact with people. I tend to
divide my work into projects that each have their own
focus and reality.
TNYCJR: How does the Klezmatics fit into that?
FL: The Klezmatics are a Klezmer band, a Yiddish
music group. But a lot of what’s written about themis that we mix elements of this and that. That is justpromotional hype. Every time a musician comes intoa situation, that musician brings the totality of theirexperience, their knowledge and associations. If you’reon your way to a Klezmatics recording session andyou’re listening to the Duke Ellington Orchestra inyour car, then Duke Ellington’s sound is going to
influence what you do. It doesn’t mean you quote“Don’t Get Around Much Anymore” in a bulgar but it
might impact your choice of timbre.
TNYCJR: Letters to Afar is a very different space for theKlezmatics, how would you describe it?
FL: We made it for an experimental film score witha Hungarian filmmaker, Péter Forgács. It’s Klezmerderived but original and totally unlike anything we’ve
ever done. It’s got a lot of ambient trance music andgradual process. It has got many different influences.
TNYCJR: Talk about the NY Klezmer Fest.
FL: I’ve been working with Drom since they started
and this is their 20th anniversary. A joy of the Klezmer
scene is the communal aspect. This is dance music andthere is the joy of hundreds of people dancing in huge
circles and people jamming. My greatest experiences
are with a huge party and we’re drinking slivovitz,
eating herring and I’ll jump up on the bandstand andplay some songs and then jump down and dance in thecircle. With COVID, we haven’t been able to do this.
It’s summertime and hopefully the COVID numbers
will be down. We’re starting with my Klezmer Brass
All Stars, with a lot of great guests: clarinetist Margot

Leverett, vocalists Lorin Sklamberg, Zhenya Lopatnik
and Sarah Gordon, clarinetist Michael Winograd,
trombonist Dan Blacksberg and drummer David Licht
will be playing. Violinist Jake Shulman-Ment will havea huge fiddle kapelye. Steve Weintraub will be leading
dancing. It’s going to be huge and festive.
TNYCJR: Who were some of your early influences?
FL: One important moment was at the end of highschool. I was a DJ on our high school radio station andsomehow we got on the Strata-East label mailing list.
I had albums by Brother Ah [Robert Northern], Charles
Tolliver and Pharoah Sanders. I had no idea what theywere, but played them. There was a record by Brazilian
percussionist Airto Moreira and over one of the tracks
written on masking tape was “Do not play”. Of course,
I took the LP home, lovingly took off the tape andcleaned it with cotton swabs and rubbing alcohol. It’s
the most beautiful nine minutes of nature sounds andNortheastern Brazilian chanting. It’s gorgeous and oneof my all-time favorites. I was always attracted todifferent intriguing sounds. Frank Zappa was a favorite
and the liner notes of his albums would say, “Listen to
Edgard Varèse”. I’m like, Who is Edgard Varèse?
So, I went out and bought an Edgard Varèse album andgood God! My first introduction to Eric Dolphy was
because Zappa had a song called “The Eric Dolphy
Memorial Barbecue”.

HMAY 31ST - JUNE 5THH

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

HJUNE 7TH - JUNE 12THH

LINDA MAY HAN OH
THE GLASS HOURSTNYCJR: Northern had a big early impact on you, right?

MARK TURNER – FABIAN ALMAZAN
SARA SERPA – OBED CALVAIRE

FL: Yes, Robert Northern was the teacher who changed
my life and helped me on my road to becoming
a musician. His class at Brown University was called“Sound Awareness”. His class, albums and concepts
didn’t talk about jazz or classical music or genres. One
definition is that music is sound organized in time,
being aware of the sound and creating thoseorganizational structures. Maybe we should just go
back to Sound Awareness.

HJUNE 14TH - JUNE 19THHTNYCJR: But your horizons really expanded at New
England Conservatory?
FL: There I was playing every kind of music in theworld other than rock. I was introduced to Klezmer,
Haitian, AfroCuban, Brazilian and Balkan musics. So
much so that I don’t know the popular music of the‘80s. My family laughs at me because an ABBA song
will come on the radio and I go, “Oh, what is this?” My
music is a mixture of what I’m interested in or what
gig I get called for. If I get called to play a Nigerian gig,
then I’m going to learn that music but if I get interested
in Egyptian maqam then I learn that. It’s a mixture ofinternal and external factors that lead me to things.
TNYCJR: Early on, you played with Thomas Chapin.
What was that like?

6 JUNE 2022 | THE NEW YORK CITY JAZZ RECORDMARK
TURNER QUARTETJASON PALMER – JOE MARTIN – JONATHAN PINSONHJUNE 21ST - JUNE 26THH

FRED HERSCHDREW GRESSJOEY BARONHJUNE 28TH - JULY 3RDH

ETHAN IVERSONBEN STREETNASHEET WAITSCOMING IN JULYHJAKOB BROH
HGEORGE CABLESH
HGUILLERMO KLEINH
HJULIAN LAGEHPETER GANNUSHKIN/DOWNTOWNMUSIC.NET

ARTIST FEATU RE

JASON KAO
HWANG
by john sharpe

W hile violinist Jason Kao Hwang may not be as

prolific as some of his peers, his name on an album
signals adventure and ambition, often spiced with anearthy swing, all realized through a symbiotic
intertwining of composition and improvisation.
His talents are well recognized and he has
performed and recorded with Henry Threadgill,
Anthony Braxton, William Parker, Billy Bang, Karl
Berger and Ivo Perelman, in addition to leadinggroups such as Far East Side Band, Edge, Burning
Bridge, Sing House, Human Rites Trio and Critical
Response. Characteristically refusing to be defined bygenre, he has also composed the acclaimed opera
The Floating Box, string quartets and provided music
for film, dance and stage.
Although Hwang came of age at the tail-end of theLoft jazz era in the late ‘70s, its influence has
subsequently loomed large. Two names from that timerecur in conversation with Hwang. The first is Will
Connell, Jr., a saxophonist who spent his early years on
the West Coast with pianist Horace Tapscott before
relocating to New York. Connell met an 18-year old
Hwang, at that time a film student at NYU, at a jam
session run by the Asian-American-arts-focused
Basement Workshop, sensed promise in what he heard
and introduced him to the scene and people likebassist Parker. It was a revelatory experience for
Hwang: “When I first heard him [Parker] play I wasjust overwhelmed. I didn’t know about the uninhibited
expressivity that was possible on an instrument. I wasjust so lucky to meet him and Will.” They combinedin an outfit, which ultimately became thegroundbreaking cooperative Commitment. As one of
the first bands to unite Asian-American with AfricanAmerican musicians, the quartet, comprising Hwang
and drummer Zen Matsuura with Connell and Parker,
was almost unprecedented and their blending of
cultures unique.
The second important figure he met at that time
was Butch Morris, who knew Connell from LA and whocame to see Commitment play their first gig. “Butch atthat time was still playing with David Murray andFrank Lowe, but he was just starting to move into
conducting as his full-time vocation.” Hwang was toplay in Morris’ groups for 12 years, before reconnecting
again in the latter part of his life. It was a seminal
encounter. “He asked me to play at Billy Bang’s
memorial [in 2011] and I remember during the rehearsal
I felt like, wow, every decision he made as far as flow
and conducting and how he handled the ensemble,
I thought that’s exactly what I would have done. ThenI realized that he really did influence me, because
I worked with him at a formative age and it got into myblood and I learned about musicality from him.”
Hwang has put that knowledge to good use. At the2022 Vision Festival this month he will be conducting
his piece Myths Of Origin. “It’s going to be about 25
musicians: violins, violas, cellos, guitars, bass anddrums. The musicians come from a huge range ofFor more information, visit jasonkaohwang.com. Hwang is
at Vision Festival Jun. 22nd with Matthew Shipp, Jun. 23rd
with Yoshiko Chuma and Jun. 25th as a leader. See Calendar.
Recommended Listening:• Commitment–The Complete Recordings (NoBusiness, 1980/83)• Jason Hwang–Unfolding Stone (Sound Aspects, 1988)• The Far East Side Band–Urban Archeology(Les Disques Victo, 1995)• Jason Kao Hwang/Francis Wong/Tatsu Aoki–
Graphic Evidence (Asian Improv, 2000)• Jason Kao Hwang/Edge–Crossroads Unseen(Euonymus, 2010)• Jason Kao Hwang–Human Rites Trio (True Sound, 2019)

BAR BAYEUXCOCKTAILS, WINE, CRAFT BEER,
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experiences, some jazz, some contemporary classical,
some orchestra players. So to bring their energy
together is really amazing. I have about ten scoredpassages, which can be cued in any order, and thenthere’s a lexicon of conducting gestures with which
I can shape improvisations. And that’s what flows in
between the written sections.”
As to the intent behind the piece, Hwang has thisto say: “Because of the rise in anti-Asian violence,
I have reconsidered my life as a musician who is often
the only Asian-American on stage. For reasons ofscarcity my presence is frequently perceived as aperformance of ethnicity. Asian-American artists
produce in a space where the power structure is largely
white and with an enduring affection for Orientalist
fantasies. Even for Asian-American works of genuine
integrity, any popularity usually has links, howevercomplex, to any number of Orientalist tropes that fuelthe unconscious biases leading to anti-Asian violence,
which has surged exponentially during the pandemic.
To be true to who I am as an Asian-American, Myths Of
Origin will be a music outside the expectations of
ethnicity and genre.”
Since joining Hwang in Edge in 2005 bassist Ken
Filiano and drummer Andrew Drury reside at the heartof much of his recent music. You only have to listen to
their astounding interplay on the Human Rites Trio’s
2019 eponymous album to grasp how well attuned they
are to one another. Both will be part of his orchestra at
Vision. Hwang explains the attraction: “Andrew and
Ken are good people and they are great players. When I
say great, it’s not the skill but the imagination. There’s
a thing in the music where you’re not just interpretingbut you’re generating ideas from the music and thattakes the music beyond my imagination. Our
collaboration is now very easy and fluid.”
Hwang is also looking forward to appearing withpianist Matthew Shipp’s quartet at the Vision Festival.
“Matthew has a beautiful flow and forms, organizationof ideas. He just naturally shapes them from the
piano.” And he will also be continuing a ten-year
partnership with dancer and choreographer Yoshiko
Chuma of whom he says: “She is great. She thinks outof the box all the time.”
Thereafter Hwang has no shortage of projects tosee through, including documenting Myths Of Origin,recording his new band Critical Response withdrummer Michael TA Thompson and guitarist Anders
Nilsson, as well as finalizing for release music createdwith electronicist JA Deane, who died last year andwas a fellow alumnus of Morris’ ensembles.
For someone who hadn’t originally intended to
become a musician, Hwang’s legacy will be formidable.
“I just had the emotional need to find myself and tofind out who I was. There was something I wasreaching for that only the music could offer me. The
music would give me fleeting glimpses of who I could
be and it still does. We do the music to hear ourpotential and we keep striving to fulfill that.” v

Tuesdays: 8-11 pm

Fridays: 8 & 9:30 pm

Adam O’Farrill (Jun. 1st)
Jerome Sabbagh (Jun. 8th)
Johnathan Blake (Jun. 15th)
Nikara Warren (Jun. 22nd)
Robin Verheyen (Jun. 29th)

Sarah Elizabeth Charles(Jun. 3rd)
Tomoko Omura/Glenn Zaleski(Jun. 10th)
Ember (Jun. 17th)
George Garzone & The Fringe(Jun. 24th)
5-7 pm: Happy Hourwith Peter Watrous

Thursdays: 8 & 9:30 pm

Saturdays: 6-7:30 pm

Jam Session with Diego Voglino

Wednesdays: 8 & 9:30 pm

Adam Kolker/Jeremy Stratton
with guests
Aubrey Johnson (Jun. 2nd)
Jerry Bergonzi & Anthony Pinciotti(Jun. 9th)
Isaac Wilson (Jun. 16th)
Gary Versace (Jun. 23rd)
Billy Drewes (Jun. 30th)
5-7 pm: Happy Hourwith Marta Sanchez

Adam Kolker Duos withAngelica Sanchez (Jun. 4th)
Russ Lossing (Jun. 11th)
Aaron Goldberg (Jun. 18th)
Sebastien Ammann (Jun. 25th)

Saturdays: 8 & 9:30 pm
Vinnie Sperrazza (Jun. 4th)
Elsa Nilsson (Jun. 11th)
Anwar Marshall (Jun. 18th)
Rogério Boccato (Jun. 25th)

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 7

ALAN NAHIGIAN

ON THE COVER

JOE
CHAMBERSMUSIC KEEPS ME GOING
by mike cobb

Drummer, vibraphonist, pianist and composer Joe

Chambers is known for his versatility and tasteful
mastery of all postbop idioms. He plays with a lighttouch and superb timing and dynamics. He prefers
collaboration to front-man flash. Chambers attended
the Philadelphia Conservatory for a year and gained alifetime of experience playing with many of the biggest
names in jazz, from Eric Dolphy and Charles Mingus
to Wayne Shorter and Chick Corea to Freddie Hubbard
and Bobby Hutcherson.
With an interest in all kinds of music, Chambers
shares his knowledge as an educator. He has taught at
the New School of Jazz and Contemporary Music in
New York City and currently serves as a Distinguished
Professor of Jazz at the University of North Carolina
Wilmington’s Department of Music.
Chambers was born Jun. 25th, 1942 in Chester,Pennsylvania. He worked around Washington, DC in
his late teens and moved to New York in 1963, where
he played with Dolphy, Hubbard, Jimmy Giuffre andAndrew Hill. In the mid ’60s, Chambers played with anumber of the more progressively inclined musicians
associated with the Blue Note label, such as Hutcherson,
Shorter, Joe Henderson and Sam Rivers.
In 1970, Chambers joined Max Roach’s percussion
ensemble M’Boom as an original member. During the’70s, Chambers played with many of jazz’ mostprominent elder statesmen, including Sonny Rollins,
Art Farmer and Tommy Flanagan. With the latter andbassist Reggie Workman, Chambers formed the Super
Jazz Trio. Chambers recorded with bands led bytrumpeter Chet Baker and percussionist Ray Mantillain the early ’80s. He also maintained his association
with Roach into the ’90s.
As a solo artist, Chambers has released numerous
albums including The Almoravid (1971-73), New World(1976), New York Concerto (1981), Phantom of the City
(1991), Mirrors (1998) and Urban Grooves (2002). Beginningwith Outlaw in 2005, Chambers consecutively released
albums for Savant with Horace to Max (2009), Live At
Dizzy’s Club Coca Cola (2011) and Landscapes (2015).
His most recent album Samba de Maracatu (BlueNote, 2020) explores Brazilian rhythms. Maracatu is acontemporary rhythmic form coming out of the
Batucada, otherwise known as Samba, a percussive style,usually performed by an ensemble, known as a bateria.
Batucada is characterized by repetition and fast pace.
Like Samba, Batucada is a Brazilian musical expression
with African roots and a connection to Candomblé,
a religion based on African beliefs. Chambers says,“Latin music is really in my blood. When I was six living
in Philadelphia, there was a station playing Latin music.
Just like New York, there’s a big Latin community.
I always liked that music, Joe Loco and Tito Puente, andgrew up listening to Mambo and Rhumba. There wasalways a syncretism of cultures between Cuba, Puerto
Rico, Dominican Republic, Brazil, etc. I always liked
those rhythms and jazz. So I wanted to do something toincorporate these sounds on this album.”He cites Dizzy Gillespie as the originator of
AfroCuban jazz. “From the jazz side it was Dizzy. From

the Latin side it was Mario Bauzá, who in the ‘20s wasconnected with jazz. He was in the Duke Ellington
Orchestra. So there’s always been that connection
there. But it goes back to early New Orleans music
where musicians connected with those AfroCuban
forms and rhythms, what they call Salsa, which isreally a stateside term. Cuban music is the basis of
Latin music: Rhumba and Mambo. It all comes from
Cuban Guaguancó,” he explains. Guaguancó is asubgenre of Cuban Rhumba, combining percussion,voices and dance with two main styles: Havana andMatanzas. It is played with clave 3-2. Though Chambers
has never been to Brazil, he wants to and is planningon going to Cuba soon. Chambers wasn’t familiar withhow to play authentic Latin rhythms until he went to
New York and learned directly from percussionists
Mantilla, Steve Berrios and Ray Armando, who all
joined M’Boom. They presented Chambers with theauthentic form of Cuban Guaguancó. Asked what helearned from them, Chambers says, “They taught meclave, which is a certain rhythmic pattern that forms
the basis of Guaguancó, which could be Rhumba,
Mambo or Pachanga. There are designated claves that
set up a proper Guaguancó. You don’t know it until
people can show you properly.”
When asked about career highlights and lessons
learned from working with so many legends, Chambers
says, “Nobody lectured or told me what to do. You
learned by soundbites. I lived in Washington DC from
1960-63. We had a group called JFK and a six-nights-aweek job in a club called The Bohemian Caverns. We
had to build a weekly repertoire. But I really didn’tknow how to play. I found out how to swing and play
hard when I came to New York specifically with
Freddie Hubbard and McCoy Tyner. McCoy was thedriving force. In his prime, he was stronger than any
drummer, including Elvin Jones. I had to keep up withhim. He’d pull me along. His drive was way up top.
I learned by playing with McCoy and Freddie.”In addition to drumming, playing the vibraphoneallows Chambers to express himself with melody.
When asked about the difference between working in
a supportive role and leading, Chambers says, “Whenyou speak of drums in jazz and society, the foremostrole is to accompany people, which is the basic premise.
Then all the other things like drive, color, taste, occur
after that. You have to learn how to follow and takeorders when you work for people. Musicians will tellyou, ‘give me a little more hi-hat or bass drum.’ You
have to do that if you want to keep your job. Now,
I have no desire to be an accompanist with anybody.
Besides, all the people I’ve played with are dead andgone. It is a damn shame. I still like to play drums
sometimes, but there are big issues with it.”
Chambers published a paper titled “Enemy
Drums?” in which he explains the role of drums inpopular American music and its demonization as an
instrument, something he traces back to how slavesimported from Africa were prohibited from expressing
themselves and communicating via percussive
instruments. “Drums are the enemy in this Eurocentric

8 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

culture,” he says.
Regarding the current state of jazz, Chambers
says, “Max Roach didn’t like the word jazz or the
nicknames like bebop for the music we were making.
He was right in the midst of it but never used thosewords because he didn’t like them. Neither did Miles.
What do those words mean? They have become almost
like the ‘N’ word. The problem with so-called jazz thenand especially today is that it is disconnected from thesource from which it came. Today specifically, there’s
a disconnect between jazz and African-American
people. Looking at the history of American music, all
the separation happened in the late ‘30s into the ‘40s.
There was a time when jazz was a total entertainment
commodity in the Big Band era. They played forballrooms, dancing, it was like a complete variety
show. The 30% surtax destroyed the big bands andopened up the small band era and indirectly caused
the creation of rock ‘n’ roll.”“The 30% surtax ushered in the Cabaret laws.
It was not only mandated for music but also for sports
events. It meant that the proprietors had to pay 30%
above what they were paying in order to keep thedance policy. Places like Savoy couldn’t do it, sothey folded. That’s what killed the big bands andushered in the small groups playing in clubs with a nodance policy. You can find old pictures that say ‘No
Dancing’. Even today they’ll sit you down because ofa no-dance policy. That created the dissociation of jazzwith dancing. When I was growing up as a kid, wedanced to jazz. But you couldn’t today because of the
Cabaret Law in addition to a Union Card. This is where
all the separation came in American music and thecreation of ‘Race Music’. That was what they latercalled R&B like Wynonie Harris, Amos Milburn andLouis Jordan. It was specifically designed for the Black
community. Alan Freed spearheaded white artists
covering that in a whole new idiom they called rock ‘n’roll, which is really a cover of R&B music with artists
like Elvis,” he adds.
With COVID, Chambers had to cancel tour dates
but kept busy with recording projects and teaching
students online. He is currently finishing an as-yetuntitled album (to be released by Blue Note in 2023)
and is looking forward to playing the Jazz By The
Water and Clifford Brown Jazz Festivals this monthand European dates this fall. What keeps him going?
“Music keeps me going. Without labels, the idea ofmusic in itself,” he says. v
For more information, visit josephachambers.com. Chambers
is at Governors Island Jun. 4th as part of Jazz By The Water.
See Calendar.
Recommended Listening:• Bobby Hutcherson–Dialogue (Blue Note, 1965)• Joe Chambers–The Almoravid (Muse, 1971-73)• David Murray Trio–The Hill (Black Saint, 1986)• M’Boom–Live at S.O.B.’s New York (Blue Moon, 1992)• Joe Chambers–Landscapes (Savant, 2015)• Joe Chambers–Samba de Maracatu (Blue Note, 2020)

Bill Charlap, artistic director

THE MOST DEFINING ARTISTS IN JAZZ TODAYAT NYC'S HOTTEST SUMMER JAZZ FESTIVAL
Joshua Redman
and the Bill
Charlap Trio

Tue, Jul 19, 7:30 PM
In Person Only

Kenny Barron,Bill Charlap& Aaron Diehl

Thu, Jul 21, 7:30 PM
In Person | Online

Joe Lovano,
Warren Wolfand special guest
Samara Joy

Tue, Jul 26, 7:30 pm
In Person | Online

GET TICKETS

92NY.org/Jazz • 212.415.5500
THE 92ND STREET Y, NEW YORK
92ND & LEX, NYC

Mike Stern,
Chris Potter
and special guest
Nicole Glover
Thu, Jul 28, 7:30 pm
In Person | Online

ENCORECHRISTIAN
WOLFF
by george grella
The program for Christian Wollf’s concert at Roulette

this month has both premieres and older works. The
earliest, For 1, 2 or 3 People, dates from 1964, while
another, Keyboard Miscellany, is both older and newer—a collection of short keyboard pieces Wolff began making
in 1997 and has been accumulating since, adding somenew parts that he will be playing. That is something of asnapshot of Wolff’s work, an ongoing exploration ofactivity, space, notation and improvisation, built on theidea of mixing them all. (The program, as Wolff detailed
in conversation, differs from that on the event page at
Roulette’s website: For 1, 2 or 3 People, Percussionist 5—ina duo version for drums and percussion—Look She Saidfor solo bass, solo percussion piece Exercise 32, Keyboard
Miscellany and Roulette.)
That has been part of Wolff’s work for decades,
a balance he approached in different ways. “If it’sstrictly specified, then I have a pretty good idea ofwhat I’m going to get. But even there, I still leavethings a little vague about dynamics and articulationand stuff like that. I think of myself as notating themusic the way old music is notated, you know, Baroque,Renaissance, where there’s a whole lot of stuff they
don’t specify and they have a tradition of how it should
be done. And so you don’t need to write it down.”
Wolff, one of the members of the New York Schoolof composers (alongside John Cage, Morton Feldman
and Earle Brown, essential to the development of 20th
Century avant garde and experimental composition),
points out that his own tradition is “a little skimpier,”
one that in both concept and sound has a close
association with free jazz and non-idiomatic
improvisation over the same 60 or so years on close
parallel paths that still have had musicians crossing
from one to the other but still in the process of creating
a language that has yet to show that it could have acommon vocabulary, grammar, and syntax, unlike
Baroque and Renaissance improvisation, or the songbased mainstream jazz traditions. But that’s “one end of

the spectrum,” for Wolff. “The other one is a completely
open one. When we were studying indeterminacy, thisway back in the ‘60s, this idea was new to music. And
there were various ways of doing it. Cage decided to gowith chance operations, which produce actually quite
precise notations, which he then had to play. So thechance element was in the composition, not in theperformance. And I got the notion at the time of doingit the other way around, that the composition I would
take responsibility for, but the performance would be
where an open-ended character would happen.”That is still in the context of a composed piece,a framework that can provide both materials andmood, not least through the fundamental activity ofplaying music and listening to others in an ensemble.
“Partly, the indeterminacy that I give to the performers
is meant to produce a certain kind of sound. For
instance, if you’re waiting to hear somebody and you
have to come in immediately after, but you don’t know
when that’s going to happen, that’s going to definitely
color the way you make your sound. It’s going to givethe music both a sound and also a rhythm, a feeling,which is not like any other that I know and I don’tknow of any other way of achieving it then by theseindeterminate notations.”
If that is not jazz, it is certainly extremely close tomodern jazz concepts and the concert will feature
a well-known jazz musician in drummer Joey Baron.
He has been playing Wolff’s music for quite some time
now and came to it through his partner, percussionist
Robyn Schulkowsky, who herself has been playing
Wolff’s music even longer.
“Over 20 years,” Wolff says about his association
with Baron. Of Schulkowsky, he says, “She is one of myfavorite all-time musicians. She is just amazing. Joey ispretty great, too. When he joined, I was really very,
very happy. What happened is that she would bringhim along to concerts of my music or he would justcome when she was playing. And he seemed interested
in the music. So one day, I finally said, how about
joining us. And he thought about it: yeah, why not?
And that’s how it started. He is an improviser and hedoesn’t read music. So this is a big step for him...buthe seems all in, all together.”
Wolff makes it clear this is still composition and heis a composer. “I myself improvise. But when I do that,that’s a totally different experience from composing.
And I think of the two as having absolutely nothing to
do with each other. When I’m composing, I’m sitting

at a table with a piece of paper and a pencil. And
I’m maybe writing things that are open and free, but
I’m very clear as to what I’m doing. And I’m not
improvising, I don’t go to the piano. Whereas when I’m
improvising, I can just do it. If you’ve made a mistake,or if you’ve done something you don’t like, well, youknow, you have got to move on. Don’t try to fix it. Just
keep going. And do the best you can. In that way, these
two experiences are, for me, very different.”
Still, these two approaches come together in musicthat seamlessly mixes the two. And the process of
Keyboard Miscellany, if not improvised, seems close:“it’s a collection that’s been going on for years. And
I add new stuff to it all the time. It’s going to be a mixof older music and stuff that’s never been played
before. I guess part of it is a world premiere!” The othermusician will be bassist Robert Black and the full
ensemble will play the world premiere of Roulette.
In that piece, Wolff says “there’s a patch where each of
us does independent material, but we’re all doing it
simultaneously. And the pauses between the phrases
are free, so you can kind of adjust a little bit as you’regoing along. And it comes at a different point for eachplayer.” He has played earlier versions of this pieceand concept at other concerts and said “I have beenamazed in the experience of playing...I can’t tell thatpeople are improvising.” He adds that the othermusicians “don’t seem to be able to tell either, because
you’re surrounded by written music and that obviously
affects what you’re doing. But it also frees you up for a
moment and maybe it goes on for a quarter of a minute,half a minute. That’s the other extreme, from very
precise, to completely open. All within the same piece.
It is quite mysterious, actually, how the music suddenly
shapes what is improvised.” vobsessive to put jazz obsessives to shame, a fan forwhom “encyclopedic knowledge” would be no mere
hyperbole. For 50 years, he kept jazz history alive,
sometimes exhaustively so, on the Columbia University
radio station’s airwaves.
That fictitious Monk monologue appeared in Rafi
Zabor ’s wondrous 1997 novel The Bear Comes Home,in which the author also incisively imagines scenes
with Lester Bowie, Ornette Coleman, Charlie Haden
and other jazz luminaries, as well as the titular talking,saxophone-playing bear. The Monk luncheon
discussion carries on with frustration but more so
admiration for the famously longwinded radio host.
“Of course I was a fan and basically loved the guy,
even including periodic bouts of exasperation, andappreciated the depth and thoroughness of his love forand service to the music that had given him so muchand how fully he wanted to pass it along,” Zabor said
when asked about his recollections of Schaap. “I only
met him once, a dozen years [after the book was
published] or more, backstage at an Avery Fisher Hall
concert of a mutual friend of ours. The friend greeted
Phil with a celebratory ‘Schaapy!’ after which heintroduced us to each other. Phil and I shook hands,

wryly and I hope affectionately, and didn’t say a thing
about the thing.”
Schaap lived for many on the FM dial right up
until his death on Sep. 7th, 2021, at the age of 70. The
son of a jazz scholar and a pianist, Schaap learned at
the feet of Count Basie drummer Jo Jones, who oftenbabysat him. As a youth, he introduced himself to thegreats of the era, looking them up in the telephone
book, walking to their homes and knocking on theirdoors, thus beginning at an early age a long career asa collector of oral histories.
He began working in radio as a student at
Columbia in the ‘70s while launching a daily swing
concert series at the nearby West End Café and taking
over management of Basie alumni band The
Countsmen, and stuck with the Countsmen and theWest End into the ’90s. He went on to win six Grammys
for producing reissues of jazz sets and lecture at
Princeton, Columbia, Manhattan School of Music andJuilliard. In 2021, Schaap was named a Jazz Master by
the National Endowment for the Arts. But he will be
best remembered for the dedication he showed in his
morning
Bird
FlightandSaturdayevening				(CONTINUED ON PAGE 39)

For more information, visit eamusic.dartmouth.edu/~wolff.
Wolff is at Roulette Jun. 18th. See Calendar.
Recommended Listening:• Christian Wolff–For Piano I / For Pianist / Burdocks(WERGO, 1971)• Christian Wolff–For Ruth Crawford (hatART, 1993)• Christian Wolff–Burdocks (Tzadik, 2000-1)• Christian Wolff–Ten Exercises (New World, 2005)• Christian Wolff–Angelica Music(I Dischi Di Angelica, 2013)• Christian Wolff/Eddie Prévost–
Uncertain Outcomes (Matchless, 2015-16)

LEST WE FORGETPHIL
SCHAAPby kurt gottschalk“Now, as it happens,” Phil Schaap was saying on theradio, “Monk’s band had lunch between takes two and threeof ‘Bye-Ya’. That’s right, on this particular record date,
between takes two and three of ‘Bye-Ya’ Thelonious Monk’s
band sat down to lunch and I invite you listeners out there
to discern such difference as you can between takes two andthree, because Thelonious Monk’s great band sent out for
sandwiches and had lunch right there in the studio, between
takes two and three. Of ‘Bye-Ya’. That’s right, we’relistening to the music of Thelonious Monk today.”Those words were never actually spoken by the
WKCR broadcaster of legend, but for any regularlistener to his show, it is impossible to read themwithout hearing Schaap’s familiar voice. He was a jazz

10 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

L ABEL SPOTLIGHT

RED
RECORDSby marco cangiano
It was allegedly Joe Henderson who named Red

Records “the European Blue Note”, a moniker that has
stuck over the last few decades through the recent
relaunching. But let us proceed in order. Red was thebrainchild of Sandro Veschi and Alberto Alberti, whofounded the label in 1976. The former was a young jazz
aficionado with a passion for left-oriented politics,
organizing concerts at the State University of Milan(featuring Max Roach, Mal Waldron and Don Cherry)on behalf of the Student Movement, while the latter
was a well-established music promoter who
relinquished the label ownership early on but
continued to collaborate until his 2008 passing. Given
the context, the name Red could also have had apolitical connotation, but actually means “Registrazioni
Edizioni Discografiche”, a brand to which the
Crepuscule musical editions were soon added. The
label virtually stopped operations in 2014 but wasnever formally closed and was eventually purchased
in 2019 by Marco Pennisi, its former Art Director, who
has relaunched it while remaining faithful to its history
and purpose and most notably his own motto to“record what I like to listen to.”The beginnings, as often the case, were not easy
but driven by sheer passion combined with a sort ofirrational ambition as some of the biggest names of the
jazz universe were approached and recorded. The
maiden recording was The Quest by the Sam Rivers Trio

Composed in Color
Isaiah J. Thompson

Intimacy
Chet Baker

with Dave Holland and Barry Altschul, which overall
sold more than 50,000 copies, including rights to the
Fratelli Fabbri Editori for its series I grandi del jazz (TheGreat Names of Jazz). The first wave of recordings
featured established jazz names such as David Murray,
Julius Hemphill, Steve Lacy and Paul Bley but also
up-and-coming talents such as Abdul Wadud andAnthony Davis. It is worth though stressing how Red
was not alone in its attempt to provide a space toAmerican musicians who had found it increasingly
difficult to record at home. All the main independentlabels such as Blue Note itself, Impulse, Prestige andVerve had been progressively absorbed by majorlabels, resulting in drastic curtailment of their jazz
catalogues and de facto closure to more experimental
offerings. It is thus not by chance that Red emerged inparallel with such other Italian labels as Horo in 1972
and Black Saint in 1975 and its subsequent sister label
Soul Note in 1979. Other labels followed such as Dire
in 1977, Splasc(h) in 1982 and Philology in 1987.
After the somewhat heterogeneous first wave ofartists, Red slowly emerged as a powerhouse formodern hardbop. From the early ‘80s the label
contributed to the reemergence of Henderson, Cedar
Walton, Woody Shaw, Bobby Watson, Steve Grossman,
Jim Snidero, Victor Lewis, Jerry Bergonzi and Sphere(Charlie Rouse, Kenny Barron, Buster Williams and
Ben Riley). These artists were given the opportunity torecord original material with no interference
whatsoever by the label (one of Veschi’s strong
convictions), contrary to standard U.S. labels’ practices.
Further, Red turned out to be the initial stepping stone
for now-celebrated artists such as JD Allen, Dave
Binney and Steve Nelson. Finally, the catalogue

Caro Luca
Salvatore Bonafede

dedicated space to old masters such as Chet Baker andPhil Woods, issuing Chet Baker at Capolinea and Woods’
bands featuring young trumpeter Tom Harrell on
Integrity followed by European Tour Live. In all this,Red was characterized by a direct-live sound contrary,for instance, to ECM celebrated reverb, and stylish
covers from Pennisi.
Red was also instrumental in promoting Italian
jazz, from the free jazz movement of the mid ‘70s, which
had in Mario Schiano a sort of a father figure, to risingstars such as Franco D’Andrea, Piero Bassini and thelate Massimo Urbani. Also long is the list of Italianartists who had their breakthrough with Red, including
Giovanni Tommaso, Flavio Boltro, Salvatore Bonafede,
Mario Rusca, Roberto Ottaviano, Maurizio Giammarco,
Fabrizio Bosso, Fabio Morgera, Salvatore Tranchini,
Piero Odorici, Carlo Atti and Pietro Condorelli. Last but
not least, Red was among the most consistent labels inrecording artists from across the globe. From the 1981
Ethnic Heritage Ensemble’s Impressions the list grew
rapidly to include Argentine guitarist of Polish origin
Pablo Bobrowicky, Cuban-Brazilian trio Mani Padme,
Venezuelan pianist Edward Simon, Albanian pianist
Markelian Kapedani, percussionists Nanà Vasconcelos(Brazil) and Norberto Minichillo (Argentina) andArgentine saxophonist Costita Bisignani.
Since Pennisi took over in 2019, the objective has
been to rely on reissues—pressed on 180-gram vinylwith state-of-the-art remastering from the original
analog tapes for about 75 percent of the output whileleaving 25 percent to new albums such as Isaiah J.
Thompson’s Composed in Color. Among the recently
reissued titles are Blues for Red, a Bley solo recording,		(CONTINUED ON PAGE 39)

A Rainy Day
Mani Padme Trio

Festas de Agosto
Edward Simon & David Binney

VOXNEWS

GOING
LIVE
by suzanne lorge
O ver the last two transformative years, singer/

composers Jen Shyu and Sara Serpa have been
hustling. In March 2020 they first imagined the Mutual
Mentorship for Musicians (M³), a collective for jazzartists who identify as female or non-binary. Somehow
the two founders managed to pull inspiration from thedepths of the pandemic: since its inception, M³ has
hosted three virtual jazz festivals and commissioned
works by 48 female and non-binary musicians, most ofwhom are BIPOC. This month, M³ goes live for the firsttime (Jun. 16th-22nd). Here is how the collective works:
Each season begins at a solstice, when the next cohortof accepted artists meet for the first time and get paired
in a random drawing. Over the next nine months, thenewly forged duos write and compose and record,
benefitting from the mutual mentorship arising out ofcreating beyond stereotypical identity barriers. At theend of the season, the artist pairs premiere their works
in a shared performance. These cooperative projects
are harder than they sound: previous cohorts haveincluded remote collaborators not just from New York,but also from Indonesia, Switzerland, South Africa andArgentina. This year, The M³ Festival, in partnershipwith NYC Winter Jazzfest, will present 19 female/nonbinary bandleaders, some from previous seasons and
12 matched in new duos, across five days of
performances at Greenwich House Music School. Not
only will M³ unveil the 2022 commissions that evening,
but will also award a $5,000 Lifetime Achievement
Award to Chicago-based multi-instrumentalist Shanta
Nurullah for her contributions to improvisationalmusic, African-American folklore and spoken word
performance. The organization’s press release provides
insight into the recognition: “This award fills a gap
that exists in honoring elder women in the jazz andcreative music scene, whose musical contributions
have been invisibilized due to racism and misogyny.”
On his latest record, Black Radio III (Loma Vista),
pianist/producer Robert Glasper used some of themost revered voices around: Lalah Hathaway, Gregory
Porter, Esperanza Spalding, Jennifer Hudson, Ledisi,
Meshell Ndegeocello. We can’t know who he will havewith him when he opens the Blue Note Jazz Festival(Jun. 1st) in Washington Square Park (a free concert, by
the way). But we do know that Madeleine Peyroux willsing at Sony Hall (Jun. 2nd-3rd), followed by Harlem
Gospel Choir in a Nina Simone program at the same
venue (Jun. 29th). Macy Gray closes out the festival atBlue Note (Jun. 30th-Jul. 3rd).
Likewise, the annual Vision Festival has invited
several vocalists to participate in the celebration of two
instrumental luminaries—trumpeter Wadada Leo

Smith and saxophonist/poet Oliver Lake—at Roulette(Jun. 21st-26th). Among them are poet/singer Monique
Ngozi Nri and the group Sonic Liberation Singers—
Shanon Chua, Chaela Harris, Ravi Seenarine, Michael
Ford—singing Lake’s vocal works.
Beyond NYC jazz fests this month, vocal gigs
abound. First, there’s Cathy Segal-Garcia at Soapbox
Gallery (Jun. 1st). Then at Carnegie Hall (Jun. 3rd),
Stacy Sullivan leads a dozen male singers in the Mabel
Mercer Foundation’s tribute show, “I Like Men:
Celebrating 102 Years of Miss Peggy Lee”. Next,
saxophonist Camille Thurman sings in “BurtBacharach Reimagined” at Jazz at Lincoln Center ’s The
Appel Room (Jun. 3rd-4th), followed by the ubertalented Brianna Thomas at Dizzy’s Club (Jun.
8th-9th). Finally, the multi-talented Andrea Wolper
starts a Jazz Vespers residency for four Sundays at
Saint Peter ’s Church on Jun. 12th. By then, not evenhalf the month will have passed.
A note-worthy record: the latest installment of live
Ella Fitzgerald recordings, reclaimed from the collectionof Verve founder Norman Granz, is Ella At The Hollywood
Bowl: The Irving Berlin Songbook—her first live Songbook
recording ever, it turns out. The 15-track release,featuring a full orchestra and recorded in 1958, lands on
Jun. 24th. As is usual now with these historic finds, acharming animated YouTube video precedes the album
launch. This latest stars a super cute cartoon Fitzgeraldcrooning a hot swing version of “Puttin’ On The Ritz”.v

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 11

IN MEMORIAM
JOHN BARNES (May 15th, 1932 - Apr.
18th, 2022) The English saxophonist,clarinetist and flutist came up with the
trad-jazz band Zenith Six in 1955 andwent on to a long association with Alex
Welsh and then Humphrey Lyttelton as
well as working with visiting Americans
like Bud Freeman, Earl Hines, Will Bill Davison, Ruby
Braff, Pee Wee Russell and others and releasing ahandful of albums for Gold Star, Cadillac, Calligraph,
Black Lion and Lake. Barnes died Apr. 18th at 89.

ROBERTO MASOTTI (1947 - Apr.
25th, 2022) The Italian photographer ’s
images could be found on releases by
Amadeus, Ampersand, Bla Bla, Cramps,
Dischi Della Quercia, Elektra, EMI,
Emanem, Enja, FMP, Ictus, Improvising
Artists, Incus, Intakt, Leo, Musica Jazz,
NoBusiness, Nonesuch, PDU, Red, Ring, Saravah,
Setola Di Maiale, Splasc(H), WATT, Wergo, We Insist!,
a/l/l and, most prolifically, ECM with nearly 200
albums. Masotti died Apr. 25th at 75.

ALLEN BLAIRMAN (Aug. 13th, 1940 Apr. 29th, 2022) The drummer, longa resident of Germany, was part of theCharles Bell Contemporary Jazz Quintet
in the early ‘60s, then made his name inEurope with credits under Albert Ayler(the legendary Nuits De La Fondation
Maeght two-LP set), Albert Mangelsdorff, Karl Berger,
Joe Haider, Mal Waldron, Biréli Lagrène and others, aspart of bands like Opening and Trio Variety and two
new millennium releases for Rodenstein. Blairman
died Apr. 29th at 81.

CHARNETT MOFFETT (Jun. 10th,
1967 - Apr. 11th, 2022) The bassist firstrecorded as a child alongside his manymusical siblings in the band of his
drummer father Charles and, by the‘80s, was one of the most-in-demand
players of his generation, with credits
under Donald Brown, Ornette Coleman, Kennys Drew,
Jr. and Garrett, Kevin Eubanks, Stanley Jordan,
Branford, Delfeayo and Wynton Marsalis, Mulgrew
Miller, Courtney Pine, Wallace Roney, David Sanchéz,
Sonny Sharrock, McCoy Tyner and Tony Williams,
over two dozen albums both as part of the Manhattan
Jazz Quintet and under his own name, most recently
for Motéma Music. Moffett died Apr. 11th at 54.

JOSÉ LUIS CORTÉS (Oct. 5th, 1951 Apr. 18th, 2022) The Cuban flutist was
best known as part of Irakere in the‘80s-90s as well as founding The New
Generation Cuban All Stars, NG La
Banda and Todos Estrellas, those groups
releasing albums on El Inspector De La
Salsa, Caribe Productions, O.K., Promusic and Bis andworking with Chucho Valdés, David Murray, Pedrito
Calvon, Jose Miguel Crego and others. Cortés died
Apr. 18th at 70.

ADELHARD ROIDINGER (Nov. 28th,
1941 - Apr. 22nd, 2022) The Austrianbassist had several leader or co-led
releases since the ‘70s and worked with
Hans Koller, Akira Sakata, New Jazz
Ensemble, Karin Krog, Yosuke Yamashita,Heinz Sauer, Urs Leimgruber and theEuropean Jazz Ensemble. Roidinger died Apr. 22nd at 80.

GENE SANTORO (1950 - Apr. 27th,2022) The author wrote several books,
most notably Myself When I Am Real: The
Life and Music of Charles Mingus, andcontributed pieces to The Daily News,The Nation, The Atlantic, DownBeat,
The New Yorker, Rolling Stone, Billboard,
Spin and The Village Voice and wrote liner notes forhistorical albums by Mahavishnu Orchestra, Miles
Davis, Jeff Beck, Larry Coryell and Stanley Turrentine
and new releases from Ivo Perelman, Mingus Big Band,Mark Dresser and others. Santoro died Apr. 27th at 71.
KLAUS SCHULZE (Aug. 4th, 1947 - Apr.
26th, 2022) The composer and keyboard
player (initially a drummer with various
electronic bands in his native Germany)
released dozens of albums on Ambient
World, Brain, Cosmic Music, Inteam
GmbH, MIG, PDU, Rainhorse, Revisited,
Synthetic Symphony, Venture, Мирумир and other labels
and was a founding member of Stomu Yamashta’s Go in
the ‘70s. Schulze died Apr. 26th at 74.
DONALD SMITH (Sep. 4th, 1943 - Apr.
9th, 2022) The pianist (and younger
brother of Lonnie Liston Smith) was
active from the late ‘60s well into thenew millennium, recording one album
as a leader in 1976 for Whynot andappearing on albums by his brother,
HamietBluiett,
LesterBowie,
Tulivu-Donna
Cumberbatch, Andrew Cyrille, Craig Harris, Bobby
Hutcherson, Dick Griffin, Oliver Lake, Saheb Sarbib,
Leon Thomas, James Jabbo Ware, Salim Washington
and others. Smith died Apr. 9th at 78. v

JULY - AUGUST 2022
WEDNESDAY JULY 6 THRU FRIDAY AUGUST 26
NYC's Longest Running Jazz Festival
Returns, & Concerts Are Still FREE!

WEDNESDAYS AT GRANT'S TOMB

7:00 PM - 8:30 PM
RIVERSIDE DRIVE & WEST 122ND STREETFRIDAYS AT MARCUS GARVEY PARK

Richard Rodgers Amphitheater
7:00 PM - 8:30 PM
FIFTH AVENUE & WEST 124TH STREETSATURDAY IN CENTRAL PARK

SAT. AUGUST 13TH | 4:00 PM - 7:00 PM
CENTRAL PARK WEST & WEST 106TH STREET
www.jazzmobile.org

FOR THE SUMMERFEST SCHEDULESPONSORS & OTHER UPDATESSCAN THE QR CODE ON JUNE 15

12 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

FESTIVAL REPORTALAN NAHIGIAN

LONG
PLAY
FESTIVAL
by tom greenland

Denardo Coleman

The first ever LONG PLAY festival, latest of Bang on a

Can’s marathon concerts, aims to bridge the gap
between new, jazz and world musics. Established in
1987, Bang On a Can reflects founders Michael Gordon,
Julia Wolfe and David Lang’s roots in post-minimalistic
contemporary classical music. As composition
professors (the former two at NYU, latter at Yale) they
have mentored generations of grad students and manyof the five dozen concerts over a long weekend (Apr.
29th-May 1st) featured current or former students
interpreting works of the new music canon,
supplemented by rock/pop/EDM and jazz composers
while artists from Cuba, Korea, Mexico, Morocco,
Puerto Rico and Trinidad represented global cultures.
Your correspondent attended parts or all of 31 sets
totaling 26.5 hours. The proximity of The Center for
Fiction bookstore, Mark Morris Dance Center, BAM
Opera House, outdoor plaza at 300 Ashland Place, BAM’s
Adam Café (all within a half block of each other) andRoulette (two blocks away) minimized transit time
between sets while the two outlier venues, Public Records
and Littlefield in southwest Gowanus, were only minutes
away by bike. What follows is a play-by-play tour
through three days-into-nights of concert-going.
Friday started at 5 pm with Ekmeles’ nearlycontinuous, hour-plus vocalization of Karlheinz
Stockhausen’s Stimmung, melding all manner of hums,
clucks, overtones and spoken words (in German andEnglish) in complex tessellated layers. At Roulette,
M.C. Schmidt humorously intoned the words to Robert
Ashley’s The Backyard over partner Drew Daniel’s tablaladen post-disco beat with abstract light-bulb images
projected overhead behind, commixing urban and rural
imagery. At Littlefield, Detroit duo I-R aggressively
sparred with analog synthesizers on pieces like “Flail”,
which combined on-screen imagery of street maps withbeats that sounded like pneumatic drills tearing up
pavement in the midst of a traffic jam. At the opera,
Terry Riley’s seminal In C was magnificently renderedby the Bang on a Can All-Stars acoustic/electric octet toaccompany Sasha Waltz’ choreography featuring a
14-member troupe dressed in sleeveless shirts andshorts in contrasting pastel colors.
Over at Roulette, guitarist Gary Lucas and Labelle
vocalist Nona Hendryx’ tribute to Captain Beefheart
included a slideshow of his artwork, personal
anecdotes and blues-rock covers of his tunes. At BAM
Café, Innov Gnawa’s hypnotic sound, featuringMa’alem Hassan Ben Jaafer ’s passionate voice andpulsing sintir, stirred first one, then a crowd of dancers.
At Littlefield, electric guitar quartet Dither premiered
Nate Wooley’s “Three Anthems for Abandoned Cities”,
beginning and ending with clean bell tones interwoven
into chorale textures, swarming, buzzing skronk in the

middle, followed by a grungy Radiohead-esque piece
by Aeryn Santillan. Julia Wolfe’s String Quartets, as
played by Ethel, combined 16th-note hootenanny
fiddling with phasing cross-accents, slow glissandi,siren-like microtones, simultaneous sung/bowedharmonies and syncopated foot-stomps. Friday’s final
performance was a DJed set at Littlefield by Matmos(M.C. Schmidt and Drew Daniels once again) spinningelectronically-enhanced disco favorites.
Saturday began at the bookstore, where cellist Zoë
Keating and bassist Brandon Lopez discussed racism,hierarchical structures, economic imperatives, artistaudience relations and other aspects of presenting new
and improvised musics. At Roulette, Brian Eno’s
ambient milestone Music for Airports was rendered by
the Bang on a Can All-Stars dectet and 12-voice Choirof Trinity of Wall Street, lulling incessantly until no one
listening would have worried about a missed flight.
The strongest set of the festival was pianist Kris
Davis and bassist Dave Holland’s duo at Littlefield, a
seemingly modest affair that began with a cover of Eric
Dolphy’s “Les” followed by a medley of five originals,
the music moving through hard/post/freebop playedinquick
unisonintorambling
soliloquies,
conversational exchanges, overlapping phrases andfloating interludes, coalescing into thematic clusters
even as the pair pursued individual musical pathways:
Davis improvising with impeccable clarity and graceful
passion; Holland, in an unusually expansive mood,with sterling chops and eclectic techniques.
In the darkened space of Public Records trumpeter
Wooley performed Éliane Radigue’s Occam X, which
she composed with/for him, lingering 20 minutes on asingle, quiet (quieter even than the venue’s noisy
ventilation system), breathy tone—played open, thenmuted, then filtered by a paper-thin metal sheet, finallyphase-shifting as Wooley panned the trumpet aroundthe room like an old-fashioned security camera. Next
Michael Pisaro added sonic projections to Radigue’srecording of L’ile re-sonante, its visceral impact greatly
enhanced by the venue’s audience-enshrouding
speaker system. Back at Littlefield, Craig Harris played
a set of pieces for trombone, piano and string quartet,
finding interesting correspondences between his
brusque horn and the tightly knit viols. Outside on theplaza seven-piece Rumba de la Musa nested 3+2 Cuban
clave with cascara rhythms over rumbling tumba andconga, Abraham Rodriguez’ soulful voice providing
the aché factor.
Another standout performance was Marcus Rojas’
solo tuba set at the bookstore during which he coaxedthroat-sung overtones through the mouthpiece
simultaneous with conventionally blown notes,
humorous spoken asides, R&B or Led Zeppelin-stylebasslines, timpanic taps on bell, fast angular arpeggios(on a transposed piece by Cole Davis), rapidly
strummed valves à la a flamenco guitarist’s rasgueado
to end with a quote of Ornette Coleman’s “Lonely
Woman”. At one point a woman in the next room,
disturbed by the strange emanations, called out, “Areyou okay?” to which Rojas, after finishing his musicalphrase, not missing a beat, shouted back: “No!”At Littlefield, Flutter, aka vocalist Fay Victor andflutist Nicole Mitchell, debuted its casually cohesive
duo chemistry. Another fine set, at Roulette, wasbassist Reggie Workman and drummer Andrew Cyrilleand last-minute piano sub David Virelles, who milked
wonderfully resonant sonorities from the hall’s big
Steinway grand. Back at Littlefield, Sun Ra Arkestra
got off to a late start (needing time after sound-checkto don its signature resplendent costumery) but thepacked crowd didn’t mind, especially when theebullient crew delivered as expected and more. Leader
Marshall Allen, who will be (the Cosmos willing) 98
years old by the time you read this, showed remarkablesavvy on alto saxophone and EWI. By the fifth swinging
number, “Love in Outer Space”, the whole hall—
especially baritone saxophonist Knoel Scott, who, mid-song, stood up, de-horned and danced his trance—wastraveling the outer-spaceways.
After a peek at Pan in Motion in the BAMcafé yourwearying correspondent caught two final sets at MarkMorris Dance Center. First, Matthew Welch’s virtuosic,
20-minute solo bagpipe reading of Anthony Braxton’s“Composition No. 247”, which began with stentorian
braying offstage. Then, moving between several music
stands placed around the room, he fired off rapid
passages suggestive of late-period John Coltrane, Evan
Parker or even Eddie Van Halen’s “Eruption” solo,
stippling the perpetual torrent of sound with trills, triplet
flourishes, high-register leaps and ‘bent’ notes. Second
was Michael Gordon’s Timber, a piece for 6 percussionists,
each playing a wooden 2x4 plank of varying length withcontact mics mounted on a sawhorse, all arranged ina hexagon so drummers faced one another.
Sunday began in the murky interior of Public
Records, where TAK Ensemble (voice, viola, flute,
clarinet, percussion) essayed compositions by Tyshawn
Sorey, David Byrne and others. The festival’s newest
generation was represented by Brooklyn Youth Chorus,a precociously professional aggregate of three dozen
high-schoolers singing (from memory) Philip Glass’
Liquid Days and five premieres, handily negotiating
thorny fourth chords and Major third harmonic cycles
in Olga Bell’s Let Them Not Say.
At Littlefield, bassist Nick Dunston debuted
Spider Season, a trio of bass, trombone and koto. At
Public Records, guitarist James Moore and vocalist
Alicia Hall Moran played a song cycle inspired byDuke Ellington’s “Solitude”. At Adam Café, Soo Yeon
Lyuh bowed, gripped and pulled the wrapped silk
strings of her haegeum (Korean spike fiddle) to evoke
almost human cries of pathos, first in an arrangement
for string trio, later in a free improv with guitar.
At Roulette, solo pianist Jenny Lin’s interpretationof Galina Ustvolskaya’s work was dense and intense:
wearing a black outfit with semi-transparent sleevespadded from elbows to mid-palm, she lunged bothforearms, linebacker-style, into the crack between
black and white keys, sounding them all concurrently,
producing gimongous chords.
One of the more charismatic artists was composer/
vocalist JG Thirlwell, whose theatrical deliveries oforiginal songs at the dance center boasted angst-ridden
lyrics accompanied by tasteful arrangements often
morphing from dirgy, minor-key ruminations into
pompous anthem rock. Nois Saxophone Quartet’s set
at Roulette included Shelley Washington’s BIG Talk,
written for two baritone saxophones, a humorous but
strenuous musical rejoinder to those irksome catcallers who prey on passing females, the foghorn howls
and long-tones of the low winds embodying theendurance victims require to weather such harassment.
The finale, held in the opera house, fêted Ornette
Coleman’s 1959 album The Shape of Jazz to Come, joining
jazz
sextet—leader/drummer
DenardoColeman(Ornette’s son), guitarist James “Blood” Ulmer andbassist Jamaaladeen Tacuma (veterans of Coleman’s“free-funk” period), trumpeter Wallace Roney, Jr. andalto saxophonist Lee Odom and versatile pianist Jason
Moran—with 20-piece orchestra in an attempt to bridgethat problematic gap mentioned in the first paragraph ofthis review. The results were mixed. For one, the formalityof the venue and physical isolation of the onstage
musicians impeded the intimacy and interaction requisite
for successful free improvisation. Indeed, a few stalwart
free jazz fans could be observed leaving early. On theother hand, Coleman’s promethean themes proved
highly resilient across an array of distinctive arrangements
by Dunston, Harris, Mitchell, Carman Moore, David
Sanford and Pamela Z, infusing these crafty orchestral
passages with undeniable spirit. And more than a few
fans could be overheard humming “Lonely Woman” asthey squeezed out of the Opera House exit doors. v
For more information, visit bangonacan.org/long-play-2022

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 13

ALBUM REVIEWS

Thisness
Miles Okazaki Trickster (Pi)by Tom Greenland

Thisness, Miles Okazaki’s Trickster ’s fourth album

since a 2016 eponymous debut (all on Pi Recordings),
reunites the guitarist/composer with electric bassist
Anthony Tidd and drummer Sean Rickman, all alumniof Steve Coleman’s Five Elements, plus Matt Mitchell,
who has filled the piano/keyboards chair since thesecond album. It represents a post-quarantine return tolive interaction for the band (Trickster’s Dream, thethird album, was a collaboration in cyberspace) withan added emphasis on flow, breaking downboundaries—playing off the grid, so to speak, of
Okazaki’s methodical compositions. The four song
titles, taken from a Sun Ra poem in the liner notes ofMonorails and Satellites—“In some far off place”, “years
in space”, “I’ll build a world”, “and wait for you”—
underline this fluidity of form, where separate modulesof a song can transition in nonlinear fashion.
The rigid, non-swinging M-Base-style funk ispatent in the machine-like precision of Rickman and
Tidd’s beats, but Okazaki and Mitchell take full liberty
to float over and around these cycles, sometimes incounterpoint or in a seemingly parallel but nonintersecting universe. For example, on “years in space”,
Rickman opens with a 7-beat cycle, Tidd a 9-beat cycle(such that they hit the same downbeat every 35 beats),
wah-wah guitar accenting every 21 beats beforechanging it up, later phrasing in 6 while keyboards
dart and dive in less predictable ways. It is all on a grid
somewhere, but the boundaries aren’t always clear.
Most interesting is when the group moves between
compositional modules, heard especially on “wait foryou”. It is in the transitions between sections—eachmusician crossing these musical interzones at different
times, on their own initiative, eventually coalescing on a
new grid—when the most flow-infested, transcendental
moments occur. Here, in the cracks of the grid, in thoseliminal spaces at the edge of conscious perception, we
find the “thisness” promised by the title.
For more information, visit pirecordings.com. This band is at
SEEDS Tuesdays-Saturdays through Jun. 18th. See Calendar.

Careless Love
Madeleine Peyroux (Rounder-Craft)by George Kanzler

This vinyl reissue of singer Madeleine Peyroux’

breakthrough (now Platinum) 2004 album Careless Love
(Rounder) comes in a tri-fold sleeve, with not only theoriginal album, but also two discs of a live set at the2005 Festival de Jazz de Vitoria-Gasteiz in Spain. There
she was accompanied by a trio of Kevin Hays (pianoand Fender Rhodes), Matt Penman (bass) and Scott
Amendola (drums). The performance reprised all thesongs on the 2004 album as well as three more.
Careless Love was a carefully crafted studio album,

featuring first-call Los Angeles studio musicians,
including guitarist Dean Parks and keyboard player
Larry Goldings. Peyroux’ voice and tone areremarkably consistent, breathy and languorous, as if
she is communing conspiratorially with the mic. The
record moves seamlessly from song to song, as if all of
one piece. Peyroux’ tone, almost laconic, never wavers,
nor does that of the album. Still, it was groundbreaking
in its mixed repertoire, ranging from classics from
Bessie Smith and Billie Holiday to songs fromcontemporaries like Leonard Cohen and Bob Dylan.
But things are different live. While the album bandis a careful amalgam of jazz, folk, R&B and country, thequartet (Peyroux also plays guitar) is a much morestraightahead jazz group. And her vocals, delivered on
the studio album with an almost monotonic consistency,
are more varied, even adventurous, in concert. She ismore animated and rhythmically flexible on songs
such as Smith’s “Don’t Cry Baby” and the title track.
The bonus songs find her in a jaunty mood: Alan BlockDonn Hecht’s “Walking’ After Midnight”, popularized
by Patsy Cline, is all country lope; she accelerates anddecelerates tempi on Burton Lane-Frank Loesser ’s“I Hear Music” and attempts a too-fast tempo on
Marvin Fisher-Roy Alfred’s “Destination Moon”.

other before briefly coming together in glorious unison.
“9 to 6- Mdw Ntr”, the 20-minute finale and reprise/
medley, starts funky and slow, speeding up into
harmolodic horn unisons, then simultaneous andalternating solos and an unbridled rhythm section,
winding up to a satisfying climax.
Volume III would be welcome but for the ambitious,
genre-hopping Coleman, perhaps an instrumental
installment to highlight the horns more? Kokayi’s
shout-like, complex, free-associative raps deserve theirown solo album (with an obvious choice for a band).
For more information, visit pirecordings.com. Coleman is at
The Atlantic BKLN Jun. 2nd-3rd. See Calendar.

For more information, visit craftrecordings.com. Peyroux is
at Sony Hall Jun. 2nd as part of Blue Note Jazz Festival. See
Calendar.

R Future Moons (Ansible Editions)Amba–O, Sun (Tzadik)e •• Zoh
ChimyTina–Constellations (la reserve)
Clement, Elsa Nilsson,c • Dawn
Emma Dayhuff, Tina Raymond–o Esthesis Quartet (Orenda)
Cohen–Naked Truth (ECM)m •• Avishai
Max Johnson–Orbit of Sound(Unbroken Sounds)m • Tony
Oxley–Unreleased 1974-2016
e (Discus-Music)
Segal-Garcia/Phillip Strange–n • Cathy
Live in Japan (Origin)
Vicente/Seppe Gebruers/d • Luis
Onno Govaert–Room with No Namee (Fundacja Słuchaj)John Yao’s Triceratops–Off-Kilter (See Tao)d •Laurence
Donohue-Greene, Managing Editor• Kieran Adams/Matthew Dunn/Andy Haas–

Live at the Village Vanguard Volume II (MDW NTR)
Steve Coleman & Five Elements (Pi)by Jason Gross

F or three decades, alto saxophonist Steve Coleman

has been a fixture as the center of the M-Base creative
music community and leading his Five Elements
ensemble as well as being a MacArthur Fellow who
has studied/collaborated in Africa.
Four years after the first volume of his live
recording at New York’s famed Village Vanguard
comes another two-hour-plus two-CD set, recorded
May 2018, one year after the first volume and again byhis latest version of Five Elements, with him since theturn of the millennium: trumpeter Jonathan Finlayson,
bassist Anthony Tidd and drummer Sean Rickman.
The big difference now is the addition of vocalist/
lyricist Kokayi, who dominates the proceedings, notsinging but instead doing syncopated, rapid-firepoetics, akin to a looser, freer rapping style.
The most striking aspect of the album is theinterplay between Coleman and Finlayson. “Unit
Fractions” starts with the leader ’s solitary melancholysolo and then a blazing solo later, finishing off with
Finlayson’s meditative, Miles Davis-like stint. A coverof John Coltrane’s “Compassion” has them doing amadcap Latin-ized chase, leading to a flighty featurefrom Finlayson. “9 to 5” starts with a low-key gallopingof the horns, moving to a slamming charge of drums
and ending with a furious trumpet outing.
Otherwise, Kokayi is heard on all songs, taking
some over, including “Rumble Young Man, Rumble”
and “DeAhBo (Reset)” where the band mostly vamps
under him (though Coleman does let loose with a fineextended solo at the latter ’s end).
Most successful are the opener and closer. “Menes
to Midas” starts with looping riff patterns as the horns
intertwine, opening up to a roaring Coleman solo andending with he and Finlayson racing away from each

14 JUNE 2022 | THE NEW YORK CITY JAZZ RECORDn • Konrad Bauer/Georg Graewe/John Lindberg–
Sottobosco (Random Acoustics)e • Martin
Bejerano–#CubanAmerican (s/r)
w • Steve Cardenas/Ben
Allison/Ted Nash–
r
e
l
e
a
s
e
s

Healing Power: The Music of Carla Bley(Sunnyside)• Andrew Cyrille/William Parker/Enrico Rava–
2 Blues for Cecil (TUM)• Larry Goldings/Peter Bernstein/Bill Stewart–
Perpetual Pendulum (Smoke Sessions)• Mary Halvorson–Amaryllis & Belladonna(Nonesuch)• Lloyd Miller–Orientations (FOUNTAINavm)• Tony Oxley–Unreleased 1974-2016(Discus-Music)• Shabaka–Afrikan Culture (Impulse!)• Mark Turner–Return From The Stars (ECM)
Andrey Henkin, Editorial Director

Love & Resilience (Amor y Resilencia)
BronX BandA (Casita Maria)
by Russ Musto

BronX BandA is an eclectic ensemble assembled by

keyboard player Arturo O’Farrill reflecting his oneworld, genre-merging artistic vision, born of acollaboration with Bronx-based Casita Maria Center for
Arts & Education through a grant intended to bring jazzto New York’s Latino-majority borough. The oddly
configured nonet comprises the wide-ranging talents of
mezzo-soprano Kayla Faccilongo, rapper Baba Israel,
trombonist Clark Gayton, violinist/violist Leonor Falcón,
guitarist Juanma Trujillo, bassist Leo Traversa, drummer
Juan Carlos Polo and percussionist Annette Aguilar.
The date opens with Trujillo’s wildly celebratory“Festejo”, combining the ambience of a North African
bazaar and Caribbean island carnaval, swirling organ
and violin setting contrasting moods as the bandraucously shouts and claps before parading trombone
takes things out. Falcón and Trujillo’s “Ain’t I A
Woman?” begins with Faccilongo’s prayerful solo canto.
Then the mood shifts with her exhorting the dramatis of
a Brecht-Weill production and soaring-sighing violin
and wailing guitar creating a West Side Story-likeatmosphere, concluding with climactic rapping. Polo’s“Nuyoriptian Part 1” is an easy-grooving, Easterntinged excursion showcasing violin, trombone andvocals. Falcón’s “Parima” has piano in a Mexican mode
underpinning dancing violin lines and a soliloquy by
Israel, who then raps a Bronx tale on Trujillo’s funky“Nuyoriptian Part 2: Two Weeks in ‘71”.
O’Farrill-Polo’s “Juanita’s Hope” blends Faccilongo
operatics and Israel freestyling, mixing the pair withnarrative musical flair. “Carnival” by Gayton is a pretty
samba featuring Faccilongo’s airy wordless vocalizing,along with other soloists, over percolating drums andpercussion. O’Farrill’s “Nuyoriptian Part 3: En Foco” isa multifaceted effort traversing a variety of contrasting
stylistic influences. Traversa’s compositional acumen ishighlighted on three consecutive tracks: “Pasos”,
a bouncy Latin jazz affair with swinging trombone,
Fender Rhodes and violin solos; “Song For Elena”, witha relaxed fusion-y opening, prayerful Faccilongo
interlude and dancing AfroCuban finale; and “Bertha’sBeat”, Israel rapping in homage to pianist Bertha Hopeover a samba rhythm. The date ends with Aguilar’s“Wizard’s Move”, a heady brew of Latin, jazz, rap andR&B echoing the sounds of the South Bronx.
For more information, visit casitamaria.org. This project is
at Father Gigante Plaza Jun. 5th. See Calendar.

Bells on Sand
Gerald Clayton (Blue Note)
by Joel Roberts

Pianist Gerald Clayton’s second Blue Note release hasquite a different sound and approach than his label
debut. That album, an exuberant live date from theVillage Vanguard recorded just before the pandemic hit,featured Clayton’s stellar quintet on mostly expandedtakes on his adventurous postbop compositions. The
new album is much quieter and introspective, almost
meditative in tone, and the music draws more on
Clayton’s classical training and non-jazz influences. The
tunes are shorter and fit together like a series ofinterconnected sketches, equal parts chamber music andmodal jazz. The lineup is stripped down, too, consisting,in various duo and trio configurations, of Clayton(piano and keyboards), father John Clayton (bass),
Justin Brown (drums), Portuguese artist Maro (vocals)and (on one track) legendary saxophonist Charles
Lloyd, an important mentor to Clayton.
Haunting opener “Water’s Edge” spotlights father
and son, with shimmering chords playing off bowedbasslines. Maro’s warm, almost whispered vocals areheard on the poignant “Damunt de tu Només les Flors”,
one of two tunes Clayton covers by Catalan composer
Federico Mompou. Two solo takes on the standard “My
Ideal” offer vastly different, but equally invigorating
visions of the Richard Whiting-Leo Robin-Newell
Chase ballad, with hints of stride on the first and
Thelonious Monk on the second. Clayton teams up
with Brown on “That Roy”, a funky tribute to the latetrumpeter Roy Hargrove, a friend and mentor from
Clayton’s early days in New York. Another duo number,“Peaceful Invocation”, is a showcase for Lloyd’s
rapturous tenor, highlighting the remarkable empathy
between players nearly 50 years apart in age (Clayton
played regularly with Lloyd’s band for nearly a decade).
This soul-searching album closes on a fittingly
spiritual note with Clayton’s powerful solo reading of
the hopeful and hymn-like “There is Music Where
You’re Going My Friends” by uncle/saxophonist Jeff
Clayton, who passed away in 2020.
For more information, visit bluenote.com. Clayton is at The
Jazz Gallery Jun. 7th-8th. See Calendar.

Soundscapes
Bob Mintzer/WDR Big Band Cologne (MCG Jazz)
by Anna Steegmann

Saxophonist Bob Mintzer has written over 500 big bandarrangements, orchestral and chamber works and can beheard on over 1,000 recordings. As the chief conductor of
the WDR Big Band in Cologne, Germany for the past six
years, he was asked to create a project of his own,a tradition at the WDR Big Band. For Soundscapes Mintzer
states that there is “no particular theme, no singularmessage, other than to highlight the great artistry of theband and use composition to create a soundscape ofcolor, texture and sparkle, with the primary focus being
teamwork, empathy and celebration.”
Mintzer plays tenor and EWI (electronic wind
instrument) and his orchestrations allow all of the
17-strong WDR Big Band to express themselvesmusically in their unique way, creating a warm multifaceted sound often interlocking inrhythmical
counterpoint.
“A Reprieve”, the first of ten tracks, is upbeat andswinging with a Latin feel and features EWI and apowerful tenor solo by Paul Heller. “The Conversation”
combines AfroCuban, funk and various African rhythms,
horns and percussion (Marcio Doctor) engaging in arousing call and response and Andy Hunter (trombone)and Billy Test (piano) delivering magnificent solos. The
fiery “Stay Up” features solos from Mintzer (tenor) andJohan Hörlen (alto) underpinned by Stefan Rey’s resolute
walking bassline. Mintzer plays EWI and Karolina
Strassmayer plays an excellent alto solo on “Montuno”,
another Latin-flavored tune with a percussive groove.
“New Look”, the only ballad and, at 9:29 minutes, thelongest of the tracks, captivates with its lush bossa-nova
groove and lyricism, Mintzer’s tenor accompanied byreeds and flugelhorns.
On Soundscapes, Mintzer and the brilliant WDR
Big Band all stand out as soloists but together achievea remarkably ingenious coherency.
For more information, visit mcgjazz.org. Mintzer is at
Birdland Jun. 7th-11th with the Yellowjackets. See Calendar.

UNEARTHED GEM

Unreleased 1974-2016
Tony Oxley (Discus-Music)
by George GrellaThis is an ear-opening album from British

percussionist Tony Oxley (who turns 84 this month).
He is one of the great improvising drummers, witha unique sound palette and way of thinking built on
patience to leave space for his own listening andquickness to fill the right moment. There isa clattering quality to his playing that is unmistakableand sounds like what Kenny Clarke may haveplayed like if he came up with Cecil Taylor.
One hears that here on occasional plangent
whomps of sound, but the pieces—selected from his
personalarchives—areexamplesof
hisorganizational thinking for ensemble. Call it
composing if you want, but neither without
knowledge of the preparation that went into these
original recordings nor the editing—sometimes
decades after the fact—that was a part of producing
the album, one hears this as Oxley organizing andinfluencing the other musicians. Influence is not justcompositional, guiding traffic, but using electronics
to process the sounds. On the final track, 2016’s“Combination”, that is all Oxley does; it is a duetwith Stefan Hoelker playing acoustic percussion.
Larger ensemble pieces, like “The Embrace”
and the two parts of “The Ensemble” (both from1974), are not far from Evan Parker ’s ElectroAcoustic Ensemble. Oxley’s sound is spikier, withmusicians like trumpeter Dave Holdsworth,trombonist Paul Rutherford and pianist Howard
Riley. The electronics are just one more instrument
or embellishment, a crunch-like sound as percussion,an extended timbre on Barry Guy’s bass.
This is music that is very much in the moment,with no long-term and little short-term memory, freemusic not trying to build a larger form or any kindof dramatic direction, instead forgetting about
anything that had come before and remaking itself
every instant. That makes it sound far less likeanything in the broad category of free jazz thanhigh-modernist classical music, something from
Vladimir Ussachevsky, Karlheinz Stockhausen or
Mario Davidovsky. It is a powerfully satisfying
thing to hear improvised music that sounds like it
connects to such a larger and older context.
For more information, visit discus-music.co.uk

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 15

G LO B E U N I T YSpacelab & Strings
Nikolaj Hess (Sunnyside)
Metamorphosis
Jacob Artved (Stunt)
What Is There To Say?
Cory Weeds With Strings (Cellar Live)by Tom Greenland

Except upright bass, most members of the string

family aren’t as prevalent in jazz, perhaps because
they don’t lend themselves to long lines of internallyaccented 8th notes. But when arrangers write to theirstrengths, as heard on the albums reviewed here,
strings enhance jazz projects in wondrous ways.
Spacelab & Strings joins Danish pianist Nikolaj
Hess’ trio of bassist Anders AC Christensen anddrummer/brother Mikkel Hess with violinistsCæcilie Balling and Christian Ellegaard, violist Jakup
Lützen and cellist Josefine Opsahl to play a baker’s
dozen of his compositions and an adaptation of thesecond movement of Maurice Ravel’s String Quartet
in F Major. Bilingual in classical and jazz, Hess moves
in both cultures with confidence, so the project is notjust jazz-with-strings-tacked-on (or vice versa) but anorganic hybrid. Though the strings don’t solo they
are used as an autonomous voice, providing
chromatically embellished melodies, ‘rubbing’dissonances (caused by adjacent chord tones), canons,chorales and jousting countermelodies. The leader
threads it all together, rippling through the colorfularrangements with a gorgeous feathery effervescent
touch, equal parts Murray Perahia and Bill Evans.
Danish guitarist Jacob Artved’s Metamorphosis is
another successful jazz/classical hybrid presenting
reworked repertoire by Claude Debussy, Francis
Poulenc, Sergei Prokofiev, Maurice Ravel and Pyotr
Tchaikovsky. The ensemble is jazz quartet (Artved,
pianist Ben Besiakov, bassist Felix Moseholm,
drummer Cornelia Nilsson), oboe (Artved’s brotherMax) and strings (violinist Kirstine Schneider, violist
Stine Hasbirk Brandt, cellist Joel Laakso), withpercussionist Eliel Lazo on one track. The leader,flaunting a beautiful tone and touch in the Grant
Green tradition and an affinity for lissome chord
melodies, plays most of the solos (Besiakov the rest)
plus interludes connecting small-group workouts toorchestral passages. Pristine oboe, vibrant without
histrionics, often functions as the fourth string/first
violin, furnishing a melodic focal point for the stringdominated sections.
Vancouver saxophonist/bandleader/producer/
label head/former jazz club owner Cory Weeds has
to be one of the hardest working people in jazz biz.
What Is There to Say? is Weeds’ response to the seminal
Charlie Parker with Strings, not a jazz/classical hybrid
so much as a showcase for tenor saxophone backed
by piano trio and 13 strings (8 violins, 2 violas, 2cellos, 1 bass) adroitly arranged by saxophonist
Phil Dwyer. This isn’t new terrain, as Weeds paddles
midstream in the jazz mainstream and Dwyer’s
cinematic arrangements harken back to Hollywood’s
Golden Age, but the pair’s craftsmanship is
impeccable. Weeds, accompanied by bassist John Lee
and drummer Jesse Cahill, is a tasteful, inventive
melodicist, but Dwyer’s melodramatic strings almost
steal the show, especially on the finale, the Gershwins’“There’s a Boat Leaving Soon for New York”.
For more information, visit sunnysiderecords.com,
sundance.dk and cellarlive.com

Bluesthetic
Steve Davis (Smoke Sessions)by Scott Yanow

Steve Davis has been a major jazz trombonist since hejoined Art Blakey’s Jazz Messengers in 1990. He has
stuck throughout his career to the straightahead
trombone tradition pioneered by J.J. Johnson,
developing his own musical personality withoutfinding any need to alter the style. Since the music istimeless, why change? Davis has led at least 20 albums,with Bluesthetic his fourth for the Smoke Sessions label.
For this outing of ten of his originals, he gathered
together a sextet of musical friends to form quite an
allstar group: guitarist Peter Bernstein, vibraphonist
Steve Nelson, pianist Geoffrey Keezer, bassist Christian
McBride and drummer Willie Jones III.
The individual improvisations are pretty concise,with virtually every selection containing trombone,
guitar, vibraphone and piano solos and several also
having statements from bass and drums. Among thehighlights are the catchy boogaloo “Silver At Sundown”(a tribute to Horace Silver), “Bedford Strolle” (partly
recalling Benny Golson’s “Blues March”), quiet jazz
waltz “Faraway Dream”, driving “They Wore 44”(dedicated to several sports heroes who wore thenumber 44 plus 44th U.S. President Barack Obama)
and Davis’ warm playing on “Indigo To Azure”.
All of the music could have been written andperformed in this fashion for a Blue Note or Riverside
session circa 1962. Few surprises occur and, since thesolos are consistently brief, specific highpoints are
difficult to remember. With this much talent, it would
have made sense to have showcased a few of themusicians more extensively. However, the tunes arepleasing, the group’s spirit joyful and each musician
plays at his usual high level. Classic hardbop fans will
be pleased with Bluesthetic.
For more information, visit smokesessionsrecords.com.
Davis is at The Django Jun. 9th. See Calendar.

Alive (Live at Dièse Onze, Montréal)
Jean-Michel Pilc (Justin Time)
by Jim Motavalli

We just lost the stellar pianist Jessica Williams, who

made many outstanding trio dates without ever getting
the attention she deserved (sexism lives). If you’re
missing her, you could give France-born Jean-Michel
Pilc (now and teaching at Montréal’s McGill) a try.
The art of the trio is always worth exploring and
Pilc sounds closely bonded to his mates, bassist RémiJean LeBlanc and drummer Jim Doxas. Opener “Softly,
as in a Morning Sunrise” (Sigmund Romberg-Oscar
Hammerstein II) will get you hooked. Over more than
14 minutes, the trio never loses sight of the melody andit swings like mad even as it goes through a host ofchanges. LeBlanc has a memorable interlude that toys
with the tune, the trio meditates at length, then walks

16 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

briskly back into swing tempo. This is an obvious
signature tune for the band. “11 Sharp” is, along withthe title track, a Pilc original. It has that Thelonious
Monk-ish combination of jagged edges and irresistible
melody line. “Nardis” and “All Blues” are out of theMiles Davis playbook. The former opens with a moody
Pilc/LeBlanc duet and stays in a somewhat melancholy,late-night groove when Doxas joins in, tension building
at the end. The band likes long workouts and exploring
dynamics; “All Blues” dances around the melody(though it is obliquely stated by the bass) in a punchy
way that is a credit to Doxas. It edges on the outside
before coming back in and firmly closing the gate.
LeBlanc’s contribution to this and the rest of thealbum cannot be overstated. An absorbing bass solo
opens the title track, with piano finally making an
entrance, gentle and shimmering, after two minutes
and 30 seconds. With the rumble of drums, momentum
is slowly gained. These guys really listen to one
another. Not much meat, but plenty of great gravy.
In contrast to the drama that has gone before, therelatively short and bouncy take of The Beatles’“Eleanor Rigby” is a light palate cleanser, shorn of thesong’s inherent pathos. As far as this reviewer can tell,that track is on the press version but not the CD.
Justin Time makes the whole second set available fordownload, including not only “Eleanor Rigby” butalso “Someday My Prince Will Come” (Frank
Churchhill-Larry Morey), “Freedom Jazz Dance”(Eddie Harris), “My Funny Valentine” (Richard
Rodgers-Lorenz Hart), “All the Things You Are” and“My Romance” (Jerome Kern-Oscar Hammerstein II)
and “Mr. P.C.” (John Coltrane).
For more information, visit justin-time.com. Pilc is at
Smalls Jun. 9th-10th. See Calendar.

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New Masada Quartet
John Zorn (Tzadik)
by George Grella

John Zorn is a master of clichés. This is high praise—the vast majority of music we hear is built on clichésand has been since before Bach. Even free music has
clichés. Everything from a perfect cadence to asaxophonist’s altissimo scream has multiple meanings
already built into it and the player who chooses those isdeliberately wielding those meanings, in part or in all.
What sets Zorn apart is not only how much heloves clichés—the details that make a movie soundtrackor a hardbop tune work—but how good he is at making
new material and then transforming that into a new setof clichés he can mine repeatedly. His Masada project
has been the ne plus ultra of this and now comes the
New Masada Quartet to build new rooms into an
already vast and impressive house.
Upfront, another consistent Zorn quality: thefirst iteration of a new concept is usually the most
exciting and the followups consolidate that firstthought into a new body of work. That was the case for
Naked City, Painkiller and certainly the first Masada
album, one of his very finest.
The new quartet doesn’t have the invigorating edgeof that Alef album, but does have more of a loping

groove with the horizontal flow of bassist Jorge Roeder
and drummer Kenny Wollesen. Guitarist Julian Lage’s
strong swing sounds fantastic with Zorn, always aswinging player. If Masada was bebop, this is hardbop.
Speaking of clichés, the explicit Jewish music styleof Masada is built on some of the most common
expressive techniques in music: harmonic minor scales
and pentatonic patterns. With these, Zorn has crafted ahandful of his finest themes, especially the gorgeous,
midtempo ballad “Rigal”. Sometimes the album goes
one cliché too far, with Ornette Coleman-isms like
“Hath Arob”, which have the band riffing heavily.
These tracks aren’t bad but the melodies and ensemble
playing is so good elsewhere one wants more of that.
For more information, visit tzadik.com. This band is at The
Sultan Room Jun. 10th. See Calendar.

Ari’s Fun-House
Ben Markley Big Band (with Ari Hoenig) (OA2)
by Dan Bilawsky

After learning some of Ari Hoenig’s music for a showwith the drummer in 2019, pianist Ben Markley was sosmitten he had the idea of building a big band recording
around it. After receiving Hoenig’s blessing, Markley
took a deep dive into Hoenig’s world, transcribing

solos, playing along with recordings, staying in contact
to pick his brain about his writing, channeling it into
the seven arrangements of Ari’s Funhouse and bringing
his inspirational source aboard to play on the project.
Opening with the energetic “Birdless”, a tight andsoaring statement spotlighting high-caliber players (e.g.,himself, saxophonist Wil Swindler), Markley showcases
his well-oiled machine of a band. Then the beauty of
daybreak emerges through “Lyric”. With an ear-worm ofa line, standout contributions from tenor saxophonist
John Gunther and guitarist Steve Kovalcheck, strength
where it counts and a mixture of grace and groove(courtesy of Hoenig in more ways than one), the number
proves to be a high point in a set filled with many.
“Lines of Oppression”, presenting with serpentine
splendor(s) and open vistas, welcomes tenor painting
and pugilism from Gunther and Peter Sommer,
Hoenig’s perspective-twisting stick work and trumpeter
Dan Jonas’ warm weaving. Strutting and swinging
centerpiece “Bert’s Playground” offers welcome spacefor Swindler, bassist Evan Gregor and trombonist Paul
McKee. “For Tracy”, which captivates with quietude
and gives trumpeter Greg Gisbert his only feature,
stands in contrast to the anxiety-inducing intricacies
and drive of “Arrows and Loops”. And “Green
Spleen”—a contrafact of Thelonious Monk’s “Green
Chimneys”—celebrates the raunchy and funky sides oflife with rocking and raving ambitions. Markley has
seriously outdone himself, crafting expansive yet loyal
arrangements expertly executed by a stellar ensemble.
For more information, visit originarts.com. Hoenig is at
Smalls Jun. 9th-10th with Jean-Michel Pilc and Jun. 20th as
a leader, The Django Jun. 11th with Yotam Silberstein,
Fifth Hammer Jun. 13th and 27th and Pelham Fritz
Recreation Center Jun. 15th. See Calendar.

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18 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

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Brandon Seabrook/Cooper-Moore/Gerald Cleaver(Astral Spirits)
by Stuart Broomer

Brandon Seabrook is among the most original guitarists

currently working, demarcating his territory as a nexusof jazz, noise, bluegrass and string band (ideally witheach preceded by “post-” and with “banjoist” added to“most original”). What was the Brandon Seabrook Trioin the past and here described as Brandon Seabrookwith Cooper-Moore and Gerald Cleaver is an optimum
expression of his art, stretching its rich historicalassociations. It is an unusual band, with Cooper-Moore,a major pianist, restricting himself to diddley-bow,
a traditional one-string instrument he plays with two
drumsticks (though often using fingers to fret andpluck as well), taking on the role of an electric bass witha compound rhythmic complexity and melodic detailthat stretch the diddley-bow’s possibilities to levels
unlikely for a bassist. Cleaver provides a dense
figuration uniting and driving the forays, with CooperMoore sometimes anchoring himself so far into thedrums that he sounds like part of the kit.
The opening title track presents Seabrook on tenor
banjo, though there is substantial crossover between theways he plays banjo and guitar, sometimes using a capo
to turn his guitar into an octave guitar, its sound as
pinched as a banjo or mandolin: as with his guitar, there
may be rapid flurries of muffled or cut-off notes, thensudden stabbing, isolated tones, a solo at times
a series of disconnected fractures and convulsions welded
together by their fury. But there is far more here than
Seabrook’s blistering attack. “Subliminal Gaucheries”,
the first guitar piece, takes an opposite tack, almosta drone with high, sustained, reverberant notes.
“Vibrancy Yourself”, with a strong bass groove, is mostly
inflamed chording, a distant descendant of a certain kindof surf guitar, one of Seabrook’s crucial sources.
At times he seems to be recapitulating the historyof American plectrum instruments, from sudden micro
jolts of chord melody in the manner of Eddie Lang orCarl Kress, Dick Dale speed picking (sped up) or Earl
Scruggs “three-finger” to a certain kind of densely
electric grunge in the midst of Cleaver and CooperMoore’s rhythmic precision. “Crepuscule of Cleaver”
is free improvisation with a thick processed guitarsound channeling an arcade game or sonar blips.
“Adrenaline Charters” (possibly a reference to SamuelCharters, author of The Country Blues) begins withbowed guitar, suggesting violin, before Cleaver enterswith a slow backbeat and Cooper-Moore witha foundational bass. Seabrook switches to banjo, later
alternating the two before ending on isolated banjo,emphasizing the group’s invocation of its 19th Century
roots. “Seething Excitations” has Seabrook navigating
between the timbral extremes of grunge and sleighbells.
With the first six tracks ranging from 5:10 to 6:03, thefinal episodes break the mold. “Aghastitude” is an
expansive dialogue stretching to over ten minutes with
Cooper-Moore coming fully to the fore, providing
complex melodic dialogue as well as sonic anchor.
Closing “Of the Swarm”, just a minute long, is dense
insistence with promissory lyrical instants inserted,a fittingly mysterious coda to music plucked (or picked)
from the oddments of past, present and future.

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For more information, visit astralspirits.bandcamp.com.
This project is at Public Records Jun. 14th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 19

Corre el río de la memoria sobre la tierra que arrastra
trazos, dejando rastros de alguna huella que hoy es número
Camila Nebbia (Ramble)
by Alex Henderson

Avant garde jazz has a long history of incorporating

political topics. Argentinean tenor saxophonist Camila
Nebbia, who now lives in Europe, brings a Latin
American perspective to her politically charged new
album. The long title roughly translates to The River ofMemory Flows Through the Earth, Leaving Traces ofSome Footprint That Is a Number Today. Nebbia’s liner
notes describe this recording as a “reaction to all thegender violence and different forms of violence andsocial oppression” in the world.
Plenty of angst comes through the 37-minute piece“Corre el Río de la Memoria” as well as the two shorter
pieces that follow, four-minute “Resuenan los Ecos de
Sus Voces en Mi Voz” and five-minute “Coordenada
Indefinida”, yet this is not the type of avant garde jazzthat is blistering dense from start to finish. Nebbia
brings plenty of nuance with the help of Barbara
Togander (vocals and turntables), Violeta García (cello)
and Paula Shocron (acoustic piano, vocals andpercussion). The more intense and angry parts build
up. More often than not, this album sounds reflective,
contemplative and spacy.
Togander ’s Spanish-language vocals aren’t reallysinging but more a combination of chanting andspoken word. And, despite the use of electronics andturntables, the music doesn’t sound high-tech,electronics a side-dish rather than the main course.
Ultimately, it is tenor saxophone, acoustic piano andcello played in real time that do the most to give themusic its personality. Decades from now, the early2020s will no doubt be remembered as a time ofgreat unrest and upheaval. Nebbia and her associates
capture some of that angst on this engaging release.
For more information, visit ramblerecords.com. Nebbia is at
Downtown Music Gallery Jun. 14th. See Calendar.

AnatomyBilly Mohler (Contagious Music)
by Marco Cangiano

Bassist Billy Mohler ’s resumé is wide and deep,

ranging from pop-oriented collaborations to hardcore
jazz groups like the one on this album. Among his
many accomplishments, Mohler is a graduate of the
Berklee College of Music and attended the Thelonious
Monk Institute of Jazz, studying with, among others,
Herbie Hancock and Wayne Shorter. Anatomy is thewelcome sophomore release of his pianoless quartetof Chris Speed (tenor saxophone), Shane Endsley(trumpet) and childhood friend Nate Wood (drums),
the latter pair also part of Kneebody.
The references range from Ornette Coleman’slegendary quartet to Gerry Mulligan’s various
pianoless outfits, with the former a much more direct

20 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

influence while preserving the elegance of the latter.
Mohler and his partners seem to take off where
Coleman left off in the early ‘60s while proposing a lessadventurous but more rhythmic approach, with bass
clearly at the center of the project. Mohler does not shy
away from providing rock-solid walking lines andrepeated patterns always with a big round sound. He
and Wood constitute a formidable rhythmic duo,
providing a tight and swinging platform, allowing
Speed and Endsley to solo unconstrained. The former
in particular sounds extremely comfortable andconfident within this context.
All the material was written shortly after Mohler’s
first album, thus showing great consistency. Compared
to its predecessor, Anatomy comes across as more
evocative and personal while showing increasingcohesion within the quartet’s freedom. Most of thetunes share an essentiality that seems to enhance eachpartner’s contribution. Mohler states that in most cases
the rehearsal take turned out to be the final take andthere was hardly any discussion on the arrangements.
One of the pluses of this date is a fuller showcaseof Mohler ’s considerable prowess via the three“Abstract” improvised solo interludes, the first ofwhich, with tasteful addition of overdubbing, sets thescene for the whole album. Like many of the pieces,“Fight Song” relies on a bass cycle around which
supple drumming dialogues quite freely with thehorns. Also of note are funk-ish “Nightfall”,
meandering “Equals”, dirge-sounding “Exit” (withgorgeous solos by Speed and Endsley) and the haunting“Moonglow” to close.
For more information, visit contagiousmusic.net. This
project is at Bar Lunàtico Jun. 15th and Nublu 151 Jun.
16th. See Calendar.

John Zorn: Meditations On The Tarot
Trevor Dunn/Brian Marsella/Kenny Wollesen(Tzadik)by John Pietaro

Throughout John Zorn’s considerable career, thesaxophonist regularly composes works for other
instrumentalists, as is the case for Meditations on the
Tarot. Based on the 1967 book Meditations on the Tarot:
A Journey into Christian Hermeticism, the music evokes“a community of spirits” based as much on early nonverbal language, an outgrowth of 2018’s The Hierophantfor the guitar-laden rock quartet fronted by Julian
Lage. Here, the score is for a trio of pianist Brian
Marsella, bassist Trevor Dunn and drummer Kenny
Wollesen, the latter two locking musical horns with
Zorn over some 40 albums.
13 pieces balancing expansive jazz andcontemporary concert music are nothing short ofmagical. With a touch reminiscent of Chick Corea (aswell as much of ECM’s keyboard catalogue), Marsella
pores over these selections, celebrating both inherent
discipline and liberty. Dunn’s dramatic lines fill inevery crevice left open and Wollesen, a master at
directing from behind, colors, shades and speaks toevery shift of meter and tonality with command.
Opener “The Sun” begins as a modal, contemplativepiece of flowing arpeggios before shifting into arollicking, largely tonal foray. It is followed by the“The Star”, which bridges a multi-meter head and afiery improvisational section. While free expression is
welcome in such quarters, on the other hand, theeffects of rather sedate, pensive emotion also establish
meaningful inspiration for both composer andperformers, as heard on “The Emperor”. This pieceholds a strangely familiar quality in its melody andshifting harmonies, which at once complements anddeters. But as is the pattern Zorn built into thiscollection, it alternates with an explosion of fire music,“The Fool”, poised over wonderfully caustic riffs.
Marsella reflects a near-century of the music. His
technique, strikingly clean at every tempo, finds nofault in turns of thunderous pathos.
For more information, visit tzadik.com. Dunn and Wollesen
are at Nublu 151 Jun. 16th. See Calendar.

HARLEM SCHOOL OF THE ARTS
presents

ADEGOKESTEVE COLSON’S
premiere of

Suite Harlem
Red List (Music Dedicated To The Preservation of
Our Endangered Species)
Brian Landrus (Palmetto)by Thomas Conrad

Red List is a concept album with a cause. The subtitle is“Music Dedicated to the Preservation of Our Endangered
Species”. Brian Landrus composed songs inspired byanimals like the mountain gorilla and African elephant,magnificent creatures we are in danger of losing forever.
He brought together 11 musicians who were allcompletely invested in the project. At the recording
sessions he made sure they understood the sense ofurgency he wanted the music to embody.
Landrus is a specialist in the low woodwinds(baritone saxophone, bass clarinet, bass flute, etc.). He
gives himself the most solo space on Red List and he fills
it beautifully. But his primary role is composer, arranger,
bandleader and auteur. His portrayals of specific animals
are vivid and moving. “Tigris”, for the Malayan tiger, isall speed, strength and grace. “Javan Rhino” suggests
the awe of finding oneself in such a creature’s living
presence. “Vaquita”, for a small porpoise found only in
the Sea of Cortez, is continuous darting movement; thesong’s sadness comes from knowing that the life behindthat movement may soon cease. Other parts of Landrus’rich, varied, far-reaching suite apply themselves not toindividual species, but instead to overarching themes.
“Canopy of Trees” and “Nocturnal Flight” combine
dynamism and impressionism. The sweep of this music,
its complex harmonic colors, its authentic drama, makeyou think of Gil Evans and Maria Schneider.
There is another quality of Red List found in thework of the best arrangers. The orchestrations provide
inspirational settings for improvisers. A few examples:
Landrus’ dark, haunting streams of consciousness onalto and bass flutes on “The Distant Deeps”; the two
riveting saxophone solos by Landrus (baritone) andJaleel Shaw (alto) on “Tigris”; the creative evocationsof a particular mysterious world on “Congo Basin” by
guitarist Nir Felder and trombonist Ryan Keberle; thebright strands of piano notes woven through “Upriver”
by Geoffrey Keezer.
All the profits and 20% of the proceeds fromRed List will go to Save the Elephants, an organization
working to ensure a future for African elephants.

an original composition
for octet dedicated to theHarlem School of the Arts
featuring
Adegoke Steve Colson, composer, piano
Iqua Colson, voice
Freddie Hendrix, trumpet
J.D. Parran, bass clarinet
Marlene Rice, violin
Bryan Carrott, vibes
Luke Stewart, bass
Pheeroan akLaff, drums
with performances by students from the HSA
Theater Department (Chesney Snow, Chair) andHSA Dance Department (Leyland Simmons, Chair).

SATURDAYJUNE 11
7:30PM@ HSA A Train Festival
RSVP @ hsanyc.org/events#JazzRoad #ColsonsMusic
HARLEM SCHOOL OF THE ARTS
THE HERB ALPERT CENTER
645 Saint Nicholas Avenue
New York, NY

Made possible with the support of Jazz Road, a national initiative ofSouth Arts, which is funded by the Doris Duke Charitable Foundation
with additional support from The Andrew W. Mellon Foundation.

For more information, visit palmetto-records.com. This
project is at Nublu 151 Jun. 17th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 21

INTAKT RECORDS

w w w.in ta k trec .c h

INGRID LAUBROCK+ ANDY MILNE
FragileOrbit of Sound
Max Johnson (Unbroken Sounds)
by John Sharpe

Ingrid Laubrock: Soprano andTenor Sax.
Andy Milne: Piano

Multi-faceted bassist Max Johnson helms a terrificIntakt CD 379

DAVID MURRAY
BRAVE NEWWORLD TRIO
with BRAD JONES
and HAMID DRAKE
Seriana Promethea
David Murray: Tenor Sax.
Brad Jones: Bass
Hamid Drake: Drums

Intakt CD 381

LISBETH QUARTETT
ReleaseCharlotte Greve: Saxophone
Manuel Schmiedel: Piano
Marc Muellbauer: Bass
Moritz Baumgärtner: Drums

Intakt CD 383

ELIAS STEMESEDER
Piano Solotrio on Orbit Of Sound. Although also active in bluegrassand contemporary classical arenas, this set forefronts
Johnson’s jazz chops as composer and improviser with
Anna Webber (tenor saxophone and flute) and Michael
Sarin (drums).
The opening “A Quick One” shows the album title
to be aptly descriptive of the sort of relentless
momentum Johnson initiates, as bass and drums circle
intricate boppish tenor in interlocking patterns. Hereand elsewhere, evidence of Johnson’s composer ’s ear
surfaces in how cannily he extracts maximum impact
from the three voices. But the same cut also exemplifies
another of the program’s traits: sudden mood changes.
The braided interplay abruptly drops away, replaced
by a lighter airier section, which launches Webber ona path veering from staccato pure tones to expressive
slurs. A subsequent drum solo constitutes one of thehighlights of the piece, as Sarin places different
elements of his kit into intersecting orbits too, a tautlogic emerging from his crisp timbral command. It isalways fascinating to witness how the group meets thechallenge of making its way back to the theme
following one of the precipitous about-faces.
On “The Professor” the combination of droning
arco bass and precisely controlled bubbling saxophone
multiphonics take the piece into very rarefied
atmosphere, eventually retrieved by a somber unison
and increasingly coherent cymbal and plucked bass
accents. They also explore a similarly extreme
soundworld at the outset of “Over / Under”, built
from creaking bow work, scraped percussion and tenor
susurrations and whistled overtones, incrementally
moving towards a written line not blossoming untilthe very end. They come closest to overt melody on thesolemn and valedictory “Shepherd’s Morning”,
but even here breathy tenor is accompanied by Sarin’s
crumpling and rustling noises, which undercuts any
sentimentality, emblematic of a release that constantly
defies expectations.
For more information, visit maxjohnson.bandcamp.com.
Johnson is at Roulette Jun. 20th. See Calendar.

large ensembles just as easily as a somber (andmore generally palatable) album for ECM. Most
significantly, his comparatively staid music was neverlight; there were always little complexities andcuriosities below the surface.
It is that propensity for layering that is at the heartof the younger trumpeter Tomasz Dąbrowski’s
dedication to Stańko. Dąbrowski and his Individual
Beings don’t play Stańko’s music on the album—
the compositions are all credited to the leader—
but they do play an approachable and digestible
program that often has more going on than meets theear. That, of course, has much to do with the sensitive
playing of Dąbrowski’s six bandmates, but it also has
to do with a sparing use of electronics. Dąbrowski andsaxophonist Irek Wojtczak make use of electronic
effects and Jan Emil Młynarski, one of two
percussionists in the ensemble, plays both electric andacoustic drums. That is a lot of added sound, but they
do it just enough to set scenes and heighten moods.
The pieces themselves move at an easy pace, whichallows them to be engaging, posing small challenges
without getting weighed down in density.
Dąbrowski also plays in an octet saxophonist
Marek Pospieszalski assembled to play arrangementsof a dozen compositions by as many Polish composersof the 20th Century, providing him with a succinct andserviceable title for a striking collection less ordinary
than the title could suggest. It is a weightier album tobe certain and there is no Henryk Górecki or Witold
Lutosławski or Krzysztof Penderecki present to lightthe path. One suspects Pospieszalski could have somefun with Krzysztof Komeda’s film scores—his previous
album was a dedication to music associated with Frank
Sinatra—but it is not that kind of affair. Instead,Pospieszalski presents a program of composers lesser
known outside their homeland across two CDs
assembled into a suite-like arc ready, no doubt, forconcert presentation. The set begins at a slow andprolonged pace with “Krauze”, “Kotoński” and “Baird”(the tracks are all titled for the sourced composers)
before the multiply metered “Rudziński” kicks in,
keeping in some of the ceremony of fanfare of theopeners. Dąbrowski here keeps to his horn but
Pospieszalski does make use of some extra-musicalornamentation with tapes, electronic percussion andsome fine, noisy electric guitar courtesy of Szymon
Mika. The album is available for download andstreaming in full online (as is Dąbrowski’s) and could
be just the start of much further exploration.
For more information, visit aprilrecords.bandcamp.com
and cleanfeed-records.com. Dąbrowski is at Barbès Jun.
19th, Dizzy’s Club Jun. 21st-22nd and Soup & Sound Jun.
23 with Kamil Piotrowicz, all as part of Jazztopad Festival.
See Calendar.

Elias Stemeseder: Piano

Intakt CD 377

YUKO FUJIYAMAGRAHAM HAYNESIKUE MORI
Quiet Passion
Yuko Fujiyama: Piano, Voice
Graham Haynes: Cornet,
Electronics
Ikue Mori: Electronics

Intakt CD 387

DISTRIBUTED IN USA BY: VIRTUAL LABEL GROUPAVAILABLE IN NYC: DOWNTOWN MUSIC GALLERYDIGITAL DOWNLOADS: intaktrec.bandcamp.com

Eponymous
Tomasz Dąbrowski & The Individual Beings (April)
Polish Composers of the 20th Century
Marek Pospieszalski (Clean Feed)by Kurt GottschalkTo the little extent that jazz in Poland has gained

notice in the United States, it has been primarily under
the name of Tomasz Stańko. The trumpeter, who diedin Warsaw in 2018 at the age of 78, was the country’s
primary jazz export, having worked with Chico
Freeman, Dave Holland, Jack DeJohnette and David
Murray, to name just a few. Stańko was a savvy artist
who could deliver a fiery solo in one of Cecil Taylor ’s

22 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

Jun2022_nycjr_vertical_5CDs_Color.indd 1

17.05.22 11:28

Neal Kirkwood,
Piano Stories CD release
Wednesday June 22, 2022
8-9 pm, Admission $25
Soapbox Gallery
636 Dean Street
Brooklyn, NY 11238

minutes and the opening “Blue Circuit” lasts nearly20) that feel like parts of a whole. Saxophone lines are
frequently postboppish in the manner of the late Jimmy
Lyons while viola drones and sings. Lopez, too, bows
his instrument, adding low groans to the sonic matrix.
Dickey, who opens the album with a short solo, neverdrives his bandmates or enforces time, but nonethelessseems to guide the music from behind the kit, offeringa gentle nudge here, an approving percussive comment
there, shaping the cloud of sound like a potter.

Astral Long Form: Staircase in Space
Whit Dickey Quartet (TAO Forms)by Phil Freeman

W hit Dickey is one of the most Zen spirits incontemporary out jazz. A kind, friendly and gentle
man, he first came to prominence in the David S. Ware
Quartet, playing on Third Ear Recitation, Oblations andBlessings, Earthquation, Cryptology and Dao, as well as
pianist Matthew Shipp’s Circular Temple and Prism.
After making a few albums of his own, he kept a low
profile, reemerging in the late 2000s and in the last
decade or so has been on a creative tear, working
extensively with Shipp and saxophonist Ivo Perelman,
recording two collections of duos with cornet player
Kirk Knuffke and forming his own trios and quartets.
Astral Long Form: Staircase in Space has alto
saxophonist Rob Brown and bassist Brandon Lopez,
both of whom appeared on Dickey’s 2019 trio album
Expanding Light, and adds violist Mat Maneri, withwhom he first recorded way back in 1994, on Shipp’s
quartet album Critical Mass. Dickey’s relationship with
Brown goes back to 1992’s Youniverse, a trio session withguitarist Joe Morris. Lopez is the newcomer; Expanding
Light was his first date with Dickey, but he fits right in.
This is gentle, meditative music, five long tracks(only one, “Space Quadrants”, is shorter than ten

For more information, visit taoforms.com. This project is at
Vision Festival Jun. 22nd. See Calendar.

2 Blues for Cecil
Andrew Cyrille/William Parker/Enrico Rava (TUM)
by Robert BushThis astonishing trio session, recorded in Paris

February 2021, pays tribute to the late master pianist/composer/bandleader Cecil Taylor, with whom eachmusician had ties. Although trumpeter Enrico Rava’s
association was limited to a membership in Taylor ’s
Orchestra of Two Continents for the recording Winged
Serpent (Sliding Quadrants) in 1984 and again in 1988
with the Cecil Taylor European Orchestra, whichyielded Alms/Tiergarten (Spree), bassist William Parker

and drummer Andrew Cyrille each spent many
formative years with the icon.
While Rava has been largely associated with the
ECM aesthetic over the years, it is notable to recall his
earlier more volcanic appearances on albums by Steve
Lacy and the Globe Unity Orchestra. This album seems
like a return to that spirit for the veteran.
Cyrille’s shimmering cymbals and the relentlessquarter-note pulse of Parker set the stage for Rava’ssmearing flights into a hazy stratosphere on his original,“Ballerina”. By the time the trio lights upon the first“Blues for Cecil No. 1” they are effectively speaking thesame language. Parker opens with a languid vamp that
Cyrille and Rava decorate with equanimity. It doesn’t
seem possible, but “Blues for Cecil No. 2” is even morejoyous and it drills down to a universal wellspring
nourishing each member of the trio.
The blues are well represented. Parker ’s loneoriginal contribution, “Machu Picchu”, delineates witha contagious vamp, reminiscent of the magical work oflate Art Ensemble of Chicago bassist Malachi Favors.
Throughout, Cyrille continues to prove that he is oneof the finest drummers the world has ever known.
Rava has always possessed an instantly identifiablesound and that personal timbre has not diminished in
potency on this document. The disc closes with a very
short, freeform version of the 1937 Richard RodgersLorenz Hart ballad “My Funny Valentine” from Babes
In Arms. It would have been interesting to see how far
these three could have transformed that warhorse, butthey really just kind of reference part of the tune. Thatis a minor quibble about a major masterwork.
For more information, visit tumrecords.com. Cyrille is at
Vision Festval Jun. 26th. Parker is at Vision Festival Jun.
22nd-26th. See Calendar.

FLUSHING TOWN HALL PRESENTS

Queens Jazz Orchestra: “Bird Flight" Honoring
Phil Schaap & The Genius of Charlie Parker
FRI, JUN 17, 8 PM
Queens Jazz Orchestra (QJO) returns live on stage at Flushing Town Hall,with a special tribute program "Bird Flight" honoring Phil Schaap andthe genius of Charlie Parker. Antonio Hart, GRAMMY-nominated jazzartist and an original member of the QJO, will be making his debut as
the orchestra’s new conductor, following the 2020 passing of its
longtime leader, NEA Jazz Master Jimmy Heath.

MORE JAZZ IN SUMMER 2022
Gustavo Casenave Trio
SAT, JUL 9, 7 PM
Louis Armstrong Legacy
Jazz Jam All-Stars
SAT, JUL 16, 7:30 PM

TICKETS & MORE
TICK

www..ushingtownhall.org(718) 463-7700 x222
137-35 Northern Blvd.
Flushing NY 11354

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 23

JACOBARTVEDMETAMORPHOSISWorld Construct
Matthew Shipp Trio (ESP-Disk’)
Codebreaker
Matthew Shipp (TAO Forms)
Flow of Everything
Michael Bisio/Matthew Shipp (Fundacja Słuchaj)by Brian CharetteGusts Against Particles
Joe Morris/Damon Smith (Open Systems)
ERA
Joe Morris/Joe McPhee (Catalytic Sound)by Steven Loewy

During the pandemic, pianist Matthew Shipp made It may sound like a cliché, but to listen to Joe Morris is to

JACOB ARTVED (GUITAR)
MAX ARTVED (OBOE)BEN BESIAKOV (PIANO)
FELIX MOSEHOLM (BASS)CORNELIA NILSSON (DRUMS)ELIEL LAZO (PERCUSSION)KIRSRINE SCHNEIDER (VIOLIN)
STINE HASBIRK BRANT (VIOLA)JOEL LAAKSO (CELLO)

CD & DIGITAL ON STUNTRECORDS (STUCD 21122)
THE LINKING OF CLASSICAL AND JAZZSUCCEEDS EFFORTLESSLY, IT’S FULL OFIDEAS AND ALLOWS A HIGH-QUALITY
LISTENING EXPERIENCE AND
BEAUTIFUL MOMENTS.
—WOLFGANG GIESE(MUSIK AN SICH)

JACOB ARTVED DELIVERS NEW JAZZSTANDARD TUNES. HE’S A LOVELYINTERPRETER OF THE MUSIC.
—THOMAS MICHELSEN(POLITIKEN,BIGGEST NEWSPAPER IN DENMARK)JACOB ARTVED’S METAMORPHOSIS IS
A SUCCESSFUL JAZZ/CLASSICALHYBRID PRESENTING REWORKED
REPERTOIRE BY CLAUDE DEBUSSY,FRANCIS POULENC, SERGEI PROKOFIEV,
MAURICE RAVEL AND
PYOTR TCHAIKOVSKY.
—TOM GREENLAND(THE NEW YORK CITY JAZZ RECORD)

STUNT RECORDS/DISTRIBUTION:
STATESIDE DISTRIBUTORS
WWW.SUNDANCE.DK

three albums, each in a different setting from solo totrio, at Brooklyn’s Park West Studios, released on twolabels for which he had recorded previously (ESP-Disk’
and TAO Forms) and one new imprint (Poland’s
Fundacja Słuchaj). All have a great live room vibe
capturing the nuances of the performances.
World Construct features Shipp’s trio of five years
with bassist Michael Bisio and drummer Newman
Taylor Baker. Opener “Tangible” is anti-boogaloo with
an abstract melody that ends in upward-planing chords.
Shipp has gorgeous melodies over dense low clusters as
Bisio surprises with a divebomb detuning. Baker gets
lots of cymbal colors with his minimal blast stickaccompaniment. The group’s interplay is meditative
and always in control; check Shipp’s reach-up-and-stop
string fugue. “Jazz Posture” gives nod to the elitism andsnobbery in jazz—very funny. The rhythm section has
an almost Jimi Hendrix Experience rawness at times.
“Beyond Understanding” creeps with cymbal scrapes,
piano dirges and arco slides. The title track has cool footstomps and gentle chord clouds in the upper register.
Eighth note wood tapping turns into sneaky bass as
Taylor stirs the soup with brushes and Shipp’s
counterpoint takes a break just for a stuck bluesy riff.
Codebreaker, a solo piano recital, has lovely poems
by Mia Hansford serving as liner notes for each track.
“Letter From the Galaxy”’s chords shift quickly fromopen fourths and dense jazz extensions to austerecadences. A sleight melody rides atop the fray,disrupted only by a start-and-stop march and tinkly
arpeggios. “Raygun” snaps with darting lines andjust a tease of a blues cliché. “Mystic Motion” grows
from the low end, with power chords supporting
melodies getting more cerebral as they climb. “The
Tunnel” is brooding with slow suspensions and regal
16th notes with an Aaron Copland-like optimism,
stalling on a cliffhanger chord.
Flow of Everything is a duo recording with Shippand Bisio. “Flow” has plucky bass and stoic piano
chords that go from long to short duration. They swing
as bass starts to walk. Shipp’s octaves break the time
as does a triplets feint. “Bow of Everything” meditateswith upper register bass that resonates then slides backdown as staccato piano deconstructs the opening.
“Of Everything” has a blues form à la Thelonious
Monk or Herbie Nichols, bass strolling then speeding
up. A little “buzzard is two faced” quote from Shippfalls into McCoy-Tyner-inspired fourths as the tempo
quickens then slows into altered chord stabs and low
bass bombs. On “Pockets”, Shipp leaps from low tohigh registers with tight cells of angular lines spoolingout and reeling back in. “Panel” starts with shortshapes supported by free bass notes that occasionallyland and sustain. Double-stop cries from Bisio inspire
low rumblings from Shipp, who sustains a note or two
just to put a pin in the ground. On the languid coda,
we can hear the pianist’s gentle mutterings amid thecool chords and esoteric fade out. These albums are
great showcases for Shipp’s artistry, which breathes insuch interesting ways in different contexts.

listen to the sounds of surprise. For decades, the forwardlooking Morris has thrilled listeners on guitar as hestretches boundaries, often pursuing new ways ofobserving musical structures and sounds. At age 45,
Morris learned to play acoustic bass, eventually withdemonstrable acumen. More recently, in his 60s, hetaught himself drums. The two recent releases display
some of the ways that he upends conventional constructs.
Small string groups focused on improvisation
have offered some of the most exhilarating experiences
in modern music, as witness, for example, the Arditti
String Quartet or String Trio of New York. For Gusts
Against Particles, Morris invited Damon Smith fora guitar/upright bass duo, a striking combination,
which, in the hands of these masters, is a raw, energetic,
spectacular romp through five pieces, each allowing
the players to stretch and blow. One of the singular
attributes of Morris’ playing is how his guitar takes on
the attributes of a horn, something pronounced on thisrecording. Smith is stunning, immersed in advanced
techniques. On “Momentum Redoubling”, he produces
one of the finest recorded displays of bass dexterity,
strumming, digging and squeezing sound from thestrings, emanating scratchy riffs and pouring forth
feverishly while exploiting the full range of his
instrument. He and Morris produce a wondrous,
seemingly hard-wired mishmash of noises, clicks andother sounds that delight in their upbeat virtuosity,
exhaust wonderfully in their over-the-top energy andthrill breathlessly with unmitigated intensity. It is not
all scratch and burn, howeverm as Morris, in particular,
is a master at diversity, with long melodic lines along
the way. He is characteristically supple on “Equalization
Staggering”, with an inspirationally melodic andhighly passionate lengthy contribution, with Smith
focused on radical sounds. The two play as one
throughout the album and if you close your eyes, you
can more easily hear the subtleties, the close listening
and the pure musicianship.
ERA is a series of improvisational duos in which
Morris plays drums with legendary octogenarian Joe
McPhee (here on tenor and alto saxophone). While thisis only the fifth recording by Morris the drummer, heacquits himself well, although clearly the peripatetic,
seemingly ubiquitous McPhee, performing on two of
his primary horns, sounds more comfortable. Even as arelative novice on drums, Morris takes chances, clearly
having practiced hard, his solos are usually wellstoried, and is effective in support, allowing McPhee
plenty of space, of which he takes advantage handily,with swirling lines, melodic snippets, primitivephrasing and changes in volume. “ERA Two” allows
both to ply lengthy solos, with McPhee displaying adisarmingly roughhewn timbre while pushingcontinuously. The saxophonist is alternately disjointed,
melodic, up and down and usually upbeat. “ERA Four”
may be the most realized track, not too fast and notable
for a solid contribution from McPhee, with flashes ofbrilliance, and a potent drum solo transcending any
real or imagined limitations in technique.

For more information, visit espdisk.com, taoforms.com andfsrecords.net. Shipp is at Vision Festival Jun. 22nd. See
Calendar.

For more information, visit opensystemsrecords.bandcamp.com
and catalyticsound.com. Morris is at Vision Festival Jun. 24thwith Fay Victor. See Calendar.

24 JUNE 2022 | THE NEW YORK CITY JAZZ RECORDThe Magic Of Now
Orrin Evans (Smoke Sessions)by Ken Dryden

Healing Power: The Music of Carla Bley
Steve Cardenas/Ben Allison/Ted Nash (Sunnyside)by Monique Ngozi Nri

Since his arrival on the jazz scene in the late ‘90s, Carla Bley is an icon. Like other creative geniuses, theOrrin Evans has made his mark as a pianist, composerand bandleader of note. He constantly changes the
makeup of his groups to avoid falling into a predictable
pattern. Although he is a prolific, talented composer,
Evans is always open to exploring originals by his
bandmates and is comfortable giving them plenty ofspace in the spotlight. For these December 2020
sessions, recorded live at Smoke without an audience,prior to New York City clubs reopening after COVID
restrictions were lifted, his group is rising star alto
saxophonist Immanuel Wilkins, bassist Vicente Archer
and veteran drummer Bill Stewart, all of whom have
either recorded with him on earlier releases or played
alongside him on others’ albums. While the room may
have been empty except for the engineer andphotographer, the energy makes it seem like there wasa full house.
The opening medley pairs Stewart’s “Mynah”
with the late Mulgrew Miller ’s “The Eleventh Hour”.
Wilkins is prominently featured and, though just in his
early 20s, is already well on his way to establishinga distinct sound, extending his range well above andbelow typical players. The interaction of the rhythm
section fuels the intensity while Evans’ risk-taking solo
provokes vocal encouragement from his band. Wilkins’gorgeous melancholy ballad “The Poor Fisherman”
contrasts with his twisting postbop vehicle “Levels”.
The latter has a would-be misfire stimulatinga spontantaneous change in the planned route,bringing even more fireworks than expected in arousing performance. Evans’ spirited “Libra” blends
gospel influence with Latin rhythm and a punchy
theme that would have had the missing audience on
their feet cheering the band.
The closing selection is the whispering ballad“Dave”, written by Evans for saxophonist Bill
McHenry. While this miniature initially suggests a
lullaby with its understated melody and unison line, itbuilds to a terrific climax, all in less than four minutes.
For more information, visit smokesessionsrecords.com.
Evans is at The Atlantic BKLN Jun. 24th-25th. See Calendar.

pianist, composer, arranger, bandleader, organizer andactivist has continually reinvented herself and hermusical output. In 2015 she was named a National
Endowment for the Arts Jazz Master and, in 2021, Bley
entered the DownBeat Hall of Fame. Writing about her
at the time, Suzanne Lorge noted, “the serendipity of
Bley’s career is the stuff of movie plots: freakishly
talented composer-cum-cigarette-girl meets a risingstar pianist at a Manhattan nightclub frequented by
Hollywood glitterati.” The rising star was Paul Bley,
who first recorded her compositions, and over the next
four decades, the list of musicians that she worked
with is impressive. She went on to found the Jazz
Composer ’s Orchestra Association and the New Music
Distribution Service, which was to bring an eclectic
group of musicians to the fore in the ’70s, while
composing and leading and arranging for big bands. In
more recent years, Bley has worked in smaller settings
as well as continuing to write for large ensembles.
Guitarist Steve Cardenas played with Bley inCharlie
Haden’s
Liberation
Music
Orchestrathroughout the new millennium and subsequently inthe quintet of her partner, bassist Steve Swallow, in2011. This trio with tenor/soprano saxophonist andclarinetist Ted Nash and bassist Ben Allison recorded
an album, Quiet Revolution, in 2015, exploring themusic of guitarist Jim Hall and clarinetist Jimmy
Giuffre, the latter having many Bley compositions in
his repertoire. After recording Somewhere Else: Westside
Story Songs, a tribute to Leonard Bernstein’s music in
his 2018 centennial year, the trio turned to the music of
Carla Bley.
The nine selections include several well-known
songs, such as “Ida Lupino”, “Lawns” and “Donkey”
and some that are less covered. The former was written
for the film star and pioneering female film director.
Guitar and bass duet on the simple melody before
saxophone enters, a very gentle, soothing entry into
the healing power of Bley’s music. Cardenas takes alush solo, followed by an equally sonorous Nash andthen Allison suspending the listener in a place that is“stripped and basic”, which is how Bley described hervision of Lupino.
“And Now The Queen”, first recorded by Paul
Bley on his 1964 ESP-Disk’ album Barrage and a piece
he returned to throughout his career, is a
simple and beautiful ballad featuring Nash.
Aforementioned “Lawns” is also a classic, sparingly
beautiful Bley melody. “Ictus” is more atonal and avant
garde than most of the other tracks while “King Korn”
was originally penned for the great Sonny Rollins andNash does it justice.
The closing title track is less entrancing than what
precedes it but the impact of the playing and choiceof music throughout the album does have the effectof what the name implies. Carla herself apparently
endorsed that sentiment with the words “That’s me”
upon hearing the recording.
For more information, visit sunnysiderecords.com. Cardenasand Allison are at Soapbox Gallery Jun. 25th. Nash is at
Chelsea Table & Stage Jun. 15th and Rose Theater Jun.
10th-11th with the Jazz at Lincoln Center Orchestra. See
Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 25

Crisálida
Danilo Pérez (Mack Avenue)by George Kanzler

This, from Danilo Pérez’ website, sheds some light on

this unclassifiable musical project: “Pianist, composer,
humanitarian and activist Danilo Pérez believes that aunited global perspective for the arts and social justice
are the keys to moving humanity forward in harmony.
With Crisálida, Pérez has convened his Global
Messengers—several gifted Berklee Global Jazz Institutegraduates mentored by Danilo hailing from Palestine,
Greece and Jordan—to contribute their respective culturallearnings and personal experiences with the goal ofbuilding community through music, without borders.”
A far cry from the jazz that animates Pérez’ trio
outings and work with Wayne Shorter and Roy Haynes,
this project, consisting of two four-part suites, is panethnic, pan-global fusion. The Global Messengers basic
lineup features his piano along with Farayi Malek’s
voice, singing and/or reciting, Vasilis Kostas’ eightstring lute-like laouto, Layth Sidiq’s violin and voice,
Naseem Alatrash’s cello and the percussion arsenal of
Tareq Rantisi. Faris Ishaq’s (Turkish) ney flute adds to
the Near East flavor of “Rise from Love”, the opening
track of La Muralla (Glass Walls) Suite.
Chanting, often wordless, vocals are prominent
throughout the two suites. The laouto, in tandem withviolin and cello, brings an exotic feel to the proceedings,
especially in the first suite, whose highlight is the final
movement, “Muropatia”, explained as “a humancondition characterized by the desire to makeimpermeable walls”. It rides on gypsy-like Latinrhythms and a sweeping theme from laouto, stringsand piano, Pérez breaking out in an impassioned solo.
“Monopatia”, the second movement, is luxuriously
slow and mournful with violin and voice.
Fronteras (Borders) Suite deals with aspects of thehumanitarian crisis in a world of displaced persons(refugees). Its highlight is the 12-plus minute“Al-Musafir Blues”, bristling with passion, making
dramatic use of cello, laouto and violin in building
tension. Both violinist Sidiq (arco) and Pérez dig inwith intense solos, spurred on by a flamenco-tinged
rhythm. A bass rhythm in 7 alternating with 6 gives a
propulsive groove to the closing track, “Unknown
Destination”, piano weaving solos through a stringsvoice refrain. Pérez has valiantly tried to achieve a newmusical synthesis here, but has he overreached?
For more information, visit mackavenue.com. Pérez is at
Birdland Jun. 16th-18th. See Calendar.

Slick
Nick Hempton (Triple Distilled)
by Scott Yanow

N ick Hempton, born and raised in Australia, largely

taught himself how to play jazz, sitting in at jam
sessions and learning on the bandstand. Equally skilled

on tenor and alto saxophones, he has been a fixture in
New York since 2004. His sixth album, 2018’s Night
Owl, was a quartet with guitarist Peter Bernstein, organ
player Kyle Koehler and drummer Fukushi Tainaka.
He enjoyed the experience so much that he brought thesame group into the studio to record Slick on Jan. 9,2020, just before the COVID pandemic.
The group performs six of his melodic originals
and four vintage standards. While the music is always
somewhat bluesy and some of the pieces, such as thecatchy “Snake Oil”, groove in a soul jazz manner, muchof the playing is closer to swinging hardbop and evenbebop than to soul jazz. This is particularly true on“Short Shrift” (which utilizes “Strike Up The Band”
chord changes and is taken at a racehorse tempo) andthe Sonny Stitt-ish alto playing on “People Will Say
We’re In Love”.
While Stitt is clearly an influence (particularly on a
boppish reading of “The Gypsy” and the jump tune
“Fryin’ With Fergus”), Hempton also infuses the musicwith his own ideas. He not only keeps the tradition
alive but also clearly has a great time playing at thecooking tempos. Bernstein, who seems incapable ofplaying an unworthy solo, is up to his usual level.
Koehler displays his own forceful and passionate soundwhile Tainaka never lets the music stop swinging.
While things slow down a bit for a warm version
of “Born To Be Blue” and “Liar ’s Dice” has the feel ofa calypso (although with more complex chord changes),
the music on Slick mostly swings hard in an exhilaratingmanner. Not too many players these days are inspiredby Stitt, making this date a rare treat.
For more information, visit nickhemptonband.com. This
project is at The Django Jun. 25th. See Calendar.

John Zorn: Parables
Bill Frisell/Gyan Riley/Julian Lage (Tzadik)
by Jim MotavalliThis is some beautiful, challenging acoustic guitar

music. All the compositions are by downtown avatar
John Zorn, who draws upon Sufic, Hebrew and secular
traditions to celebrate storytelling as a spiritual lesson,and the players are masters: Bill Frisell, Julian Lageand Gyan Riley.
The guitarists interweave and support each otherin ways you probably haven’t heard before. It iscollective improvisation, but without the chaos thatsometimes engenders. Through titles like “The Broken
Window”, “A Perfumed Scorpion”, “The Boiling
Cauldron” and “Secret of the Locked Room” we are ona polytheistic quest for enlightenment.
This could imply a New Age bliss-out, music forthe morning yoga class at the Esalen Institute in Big
Sur. Though the music is pretty, it is not like that at all.
Zorn offers this quote from Sanai, the Sufi master andteacher of Rumi: “Man is wrapping his net aroundhimself. A Lion (Man of the Way) bursts his cageasunder.” So there is some tension there—quests aren’t
easily achieved!
The trio achieves a fusion and unity of purpose.
Although they each have highly distinctive playing
styles, that is not so evident here. As on “At the
Crossroads”, one guitarist leads it in, a second
embellishes and soon an intricate weave emerges. On“Cauldron”, the playing rises to a furious boil. “Light
Weaving” has a very life-affirming warmth to it.
If parallels are needed, think of guitarist John

26 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

McLaughlin with Shakti, though Parables is less selfconsciously virtuosic. It is not necessary to say more
about this music, which was recorded circa 2020 in
New York. It doesn’t need to be academically dissected;
it needs to be savored.
For more information, visit tzadik.com. Lage is at The
Sultan Room Jun. 10th and The Stone at The New School
Jun. 15th-18th. See Calendar.

Living in Sound (The Music of Charles Mingus)
Harry Skoler (Sunnyside)by George Grella

H ow one takes clarinetist Harry Skoler ’s tribute toCharles Mingus—in this the year of the great bassist,composer and bandleader ’s centennial—is a matter ofperspective. Skoler plays some of Mingus’ most famous
tunes, including “Goodbye Pork Pie Hat” and “Peggy’s
Blue Skylight”, and lesser-known but musicallyeminent ones like “Remember Rockefeller at Attica”
and “Invisible Lady”. There is also music from Skoler
and musicians associated with Mingus.
The clarinetist has a warm sound, mellow but run
through his lively fingering, and he can press an edge
into it. His playing emphasizes sweetness throughout
and he stays inside the changes although at times heplays with timbre in a way that seems to urge an
unstable quality into the music. He is supported bya medium-sized band, with strings, which includes
pianist Kenny Barron and trumpeter Nicholas Payton,both of whom play exceptional solos. And he has
allstar arrangers in Darcy James Argue, Ambrose
Akinmusire and Fabian Almazan.
Everything sounds great, the music swings andthe ensemble has real command of the charts, ofshifting moods and especially fine modulations ofdynamics. The arrangements make excellent use of
instrumental color and put Mingus’ themes into thecontext of extended, complex harmonies. Skoler does
tend to err on the side of politeness, but this is goodmusic well played, it feels good as it goes down.
But from another perspective, Mingus combined
brilliant sophistication with fire in the belly, earth andmind, notes and society. The treatments here soundgreat, but there is no irreverence, subversion, anger,
no real love for the blues, gospel, the vulgar (in thebest sense) and ordinary human living in Mingus’
music. This has always been a problem with big bandarrangements of Mingus, which coordinate themusicians around notes and rhythms on the page.
Mingus taught his musicians their parts off the pianoand by singing; they were coordinated by phrases,
loose and tight at the same time.
The arrangements don’t have that quality; instead
they are polished in a way that moves away from
Mingus, especially the subversion. Credit Almazan,
whose “Rockefeller” threatens to turn it into something
bizarrely snappy, but then works in some haunting
ambiguity, but that is an exception on the album.
Interestingly, Akinmusire’s arrangement of Don
Pullen’s “Newcomer” and Skoler ’s own “Underdog”
are the most convincing, with flashes of complex,
unresolved emotions and ideas—Mingus. This is analbum as gift to Mingus’ legacy. But as the saying goes,
if you meet the Buddha on the road, kill him.
For more information, visit sunnysiderecords.com. Mingus
Mondays are at The Django. See Calendar.

Off-Kilter
John Yao’s Triceratops (See Tao Music)
by Dan Bilawsky

This three-horned beast of a band first came to noticewith 2019’s How We Do, a dynamic, boundary-pushingdate built on a balance of compositional complexity
and improv-fueled intrigue. Now, reconvening for asecond go-round, trombonist John Yao looks past theperimeter of this chordless quintet’s debut to delivera program using firmly flexible architecture toencourage audacious exploration.
With a frontline completed by alto saxophonist
Billy Drewes and tenor saxophonist Jon Irabagon and arhythmic core built around Robert Sabin’s bold bassand Mark Ferber ’s rumbling and ruddering drums, thepossibilities in this gathering are practically limitless.
That is made clear right off the bat with Drewes’delightfully disorienting “Below the High Rise”.
A wild ride marrying structural sophistication to jumpcut logic, it features intricate ensemble writing,weighted grooves, a fracas focused on saxophones andone tough-minded beauty of a trombone solo.
There is clearly no settling in here, as the music isdaring and forceful from the first. And the six
unabbreviated offerings and two interludes that follow,
which are all drawn from Yao’s pliable pen, further theattitude and spirit displayed in the opener. “Labyrinth”
presents something different with every turn in themaze, including but not limited to an opening where
punctuated thoughts surrounds energized freedrumming, a straight course with smart-and-sinisterhorn lines, an amped-up episode in togetherness andaccelerating space and time for the leader’s horn.
“Interlude No. 1”, highlighting Ferber’s pattering-topowerful range, leads to “Quietly”, a composition
documenting the quintet’s gifts in a relatively calm andcontained space. “Crosstalk”, embracing prancing swing
and sizzling funk, butts up against “Unfiltered”, where
the laws of gravity hold no sway over melodic musingsand heavenly harmonies. And “The Morphing Line”—
the lengthiest number at just under the 10-minutemark—lives up to its name through the art of evolution.
Following the concise “Interlude No. 2”—thepenultimate piece and the quirkier of the two miniatures—things come to a close with the title track, a work that is
pure frantic fun. John Yao’s Triceratops may be off-kilter,but is also remarkably on point. This sophomore set isrisk and reward wrapped together as one.
For more information, visit johnyao.com. This project is at
Culture Lab LIC Jun. 12th. See Calendar.

Justice: The Vocal Works of Oliver Lake
Sonic Liberation Front and
The Sonic Liberation Singers (High Two)by John Pietaro

O liver Lake is an icon. Birthed by St. Louis’
revolutionary Black Artists Group, transplanted into

New York’s radical Loft community and on to the stage
and into the studio with a plethora of artists—from theWorld Saxophone Quartet to Jump Up! to Trio 3 to Lou
Reed, Anthony Braxton, Mos Def, Björk and an array ofothers. Never one to shy away from socio-politicalmatters, Lake has been a strong voice for racial equality
and social change, particularly through hiscompositions, but also via his extensively publishedpoetry and his visual art. The latter should be ofno surprise as this man’s roots lay in a time of vital
cross-pollination.
For this compelling album, his vocal works are, atlong last, the feature. Philadelphia’s Sonic Liberation
Front (SLF) has enjoyed a relationship with the
saxophonist’s brand of pathos (and recordedwith him in 2015 for the High Two release Bombogenic)
and here, in the company of vocal quartet Sonic
Liberation Singers—Shanon Chua, Chaela Harris, Ravi
Seenarine, Michael Ford—the ensemble has produced
a truly vital piece of the jazz/new music canon.
Founded by drummer/percussionist Kevin Diehl,
SLF is comprised of tenor saxophone stalwart Elliott
Levin (also a noted poet), violinist Veronica Jurkiewicz,
flutist Jameka Gordon and upright bassist Matt Engle.
The ensemble well grasps the tradition that Lakehelped to forge: that sweet spot where progressive jazz
clasps hands with contemporary classical music andAfrican traditions, but here the newly branded vocal
group holds something special in reserve. While The
Swingle Singers may never have been hip, its members’
mastery of advanced harmonies was indisputable. The
harmonic blocks of the Sonic Liberation Singers takethis concept steps beyond. Heard alongside the 11thand 13th chords within the instrumentation, the effectis lovingly, hypnotically dissident.
From album opener “What”, the one-world musicof Lake becomes evident in the ensemble’s transportive
vocalizations over the instruments and truly gripping
solos by Levin and Jurkiewicz. The former, as always,
provides an expedition into the far reaches only hinting
at a definitive destination, the latter wrestling within
her own higher calling and a quiet nod to Stuff Smith.
By “Ain’t Nothin’ Real BUT Love”, Lake’s poetic voice
is not simply felt, but heard. His reading, warm andassured, affirms that, “love speaks out for justice…it’sa state of being.” Lake is not heard again until “Lucky
One (Where U Is, Where U At)”, which closes the set.
His utterly engaging orchestration in both the
instrumental and vocal ensembles frames his spoken
word performance.
In between, Justice plays like a well-defined suite,
its title piece a haunting foray through time, place andstruggle. Engle is on fire, his line a pummeling, soaring
statement surrounded by the Singers’ modern
harmonies of classic “doohs” and “ahhs”, elevated by
the frontline of flute, tenor saxophone and violin.
Lake’s composition, ascending in a most vexing
manner, is an immediate draw to the ear and one on
which the vocalists and instrumentalists continually
thrive. Listen too for the lush movement within“Clouds”, wherein the harmonies are thick with wet,embracing the atmosphere, and Jurkiewicz and Engle,
con arco, set forth a shower of sparks. The bassist thentakes center stage with a pizzicato solo recalling David
Izenzon before the full ensemble returns, Levin forging
new ground through a half-century of the avant garde.
So, save the date: Jun. 26th will be a gala celebrationof Lake as the Vision Festival presents Lake with the
Sonic Liberation Front in a full performance of Justice,
and also the renowned World Saxophone Quartet andan allstar band led by JD Parran. And watch for the
duo of master drummer Andrew Cyrille with Lake as
performance poet. Talk about bright moments!

Celebrating the release of
Diaspora Meets AfroHORNThe Vision Festival
Friday, June 24

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

The Vision Festival
Saturday, June 25

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

Ahmed Abdullah has been a central figure in theevolution of that particular iteration of jazz thatcoalesced around the imposing figure of Sun Ra in the
1970s, that looked back to the accessible, riotous
popular music of the past as much to the expandedsounds of the interstellar future, and conceived ofjazz as an enterprise for solidarity and social change
as much as an art or entertainment form.
After joining the Arkestra in 1975 he’s continued todevelop as a performer, a bandleader and composer,
an educator, the musical director of the Sistas’ Placeand other prominent NYC linchpins of the community,
and this recording [Ahmed Abdullah’s Diaspora Meets
AfroHorn] brings together all those strands into agloriously life-affirming statement of togetherness.
—Eddie Myer (Jazzviews)
There’s plenty on this album [Ahmed Abdullah’s
Diaspora Meets AfroHorn] that will be familiar to fansof Sun Ra... Abdullah is certainly succeeding in his
mission to keep the music of his mentor alive but his
own voice is powerful in the mix and I’m guessing his
younger self might be pretty satisfied with the outcome.
—James Read (UK Vibe)

ahmedian.com

For more information, visit hightwo.bandcamp.com. Oliver
Lake receives a Lifetime Achievement Award at Vision
Festival Jun. 26th, where this project will appear. See
Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 27

Shipp’s fondness for nagging refrains. And on theopener they meet in a slightly mournful lyrical place,where Fowler’s line contains a brief echo of Duke
Ellington’s “Come Sunday”.
For more information, visit mahakalamusic.com. Fowler is at
Vision Festival Jun. 24th with the Sparks project. See Calendar.
SparksEri Yamamoto/Chad Fowler/
William Parker/Steve Hirsh (Mahakala Music)
Old Stories
Chad Fowler/Matthew Shipp (Mahakala Music)
by John Sharpe

Reedplayer Chad Fowler ’s raw sound is only

enhanced by his choice of stritch (a straight alto
saxophone) and saxello (a dark-toned soprano with akink), both beloved by Rahsaan Roland Kirk. His
emotion-drenched vibrato betrays R&B roots andserves him well, whether in impassioned incantation
or freeform explosions. From his Arkansas base, theMahakala label boss reaches out to like-minded
Downtown mainstays on the two double albums here.
Fowler appears alongside NYC-based Japanesepianist Eri Yamamoto, bassist William Parker anddrummer Steve Hirsh as part of an egalitarian blowing
quartet on the nearly 90-minute Sparks. Yamamoto,with her soulful blues-infused figures, proves a perfectfoil for Fowler. Equally at home with the avant crowd
or subtly stretching the modern mainstream, sheeffortlessly straddles the inside/outside boundary.
Parker is tailor made for this situation, rock solid yet
endlessly supple, bringing an insouciant swing to theunfettered communion, while Hirsh lays out an
enabling rhythmic carpet with minimum fuss. Simple,
largely extemporized, motifs furnish the genesis foreach of the five long pieces, the exception being Parker’s
propulsive riff powering “Bob’s Pink Cadillac”. Whatensues is often in tune both literally and metaphorically,
as both Fowler and Yamamoto periodically mine thosecore motifs to promote a satisfying sense of cohesion to
the freewheeling narratives. Internal dialogues further
season the heady brew. The dirge-like “Taiko” ,dedicated to Yamamoto’s recently deceased mother,
showcases many of the group’s virtues. As Fowler
reiterates the beautiful off-the-cuff tune with evergreater fervor, the band responds in kind. As a calm
descends, Fowler introduces beseeching variations on
one of Yamamoto’s mother’s favorite songs, “You Are
My Sunshine”, which lead to a beguiling John Coltraneinflected conclusion. Although they pass opportunities
to finish some of the cuts sooner, this remains a bigspirited offering.
On Old Stories, Fowler teams up with pianist
Matthew Shipp for 14 spontaneous duets spread acrossan 81-minute program. Fowler is following in illustrious
footsteps, as Shipp’s previous partners have included
David S. Ware, Roscoe Mitchell, Evan Parker and Ivo
Perelman, but he succeeds in drawing out different
flavors from the format and potent episodes abound.
These are stories told by two distinctive voices, featuringhigh drama, abrupt digressions and unanticipateddenouements. Fowler’s heart-on-sleeve cries color alove of melody tempered by his liking for mayhem, as
he works in broad strokes to evoke querulous pleading,harrowing anguish and searing intensity. By this stage
you know what Shipp is going to do, but his mercurial
amalgam of bold accents, rippling patterns, hammeredkeys, Romantic strains and pastoral airs remains
remarkable whatever combinations he chooses. He
feeds an inexhaustible stream of material to Fowler,
some of which prompts reignition of the reedplayer’sarc, but much of which generates only obliqueconnection. The consequent divergent paths allied tothe constant switch of moods rarely permits easysummary of their output. Nonetheless, synchronies
transpire. Fowler’s predilection for wringing every last
ounce of feeling from a phrase meshes neatly with

28 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

Brave New World Trio: Seriana Promethea
David Murray/Brad Jones/Hamid Drake (Intakt)
Âme (Live at Artacts)
URUK (Trost)by Kurt Gottschalk

There are three names that need to be known regarding

David Murray’s new trio, other than his, and two ofthem are on the cover. Murray, the possessor of one of
the most immediately recognizable voices on
saxophone in all of jazz, has maintained an impossible
recording pace for closing in on 50 years; even devoted
fans would be excused for waiting for a choice project(Latin songs of Nat King Cole, for example) or playing
partner (Cherry – Sakura, a duo with pianist Aki Takase,from a few years back was quite memorable) to catchtheir eye. His Brave New World Trio with bassist Brad
Jones and drummer Hamid Drake happily lives up to
every bit of promise the lineup would suggest.
The third name of note on debut Seriana Promethea is
Sly Stone, whose “If You Want Me to Stay” is covered, the“all compositions by David Murray” credit line on theback notwithstanding. (Stone does get a nod in Derek
Schilling’s liner notes, however.) It is a glorious thing.
Murray’s playing is forever a joy, whatever the tune orband, but paired with the bounce of Sly Stone, it isgiggling bliss. Jones introduces the immediately
recognizable, rumbling riff and remains solid andunderstated throughout, not trying to slap like Larry
Graham (or, as would be the case, Rusty Allen), justplaying the song and playing it strong. There is nothingclever about the track, no sort of right-brain
recontextualization. They just play the song and play thehell out of it. That spirit carries through what is a top-tobottom enjoyable album, but let’s take a moment toconsider the drummer. Drake is a presence both peacefuland powerful, a big man that carries a calm. So enchanting
and charismatic is he as he chants with a frame drum inhis hands that it is easy for that image to eclipse what an
exceptional player he is behind the kit. But here he playswith the tight snare of The JB’s Clyde Stubblefield while
adding fills befitting a jazz player: a single, four-countexaltation on the hi-hat is as outrageous as it is perfect.
This is the lesson to take from the track: how perfectly
Drake snaps into anything, even looseness.
In the double duo URUK, Drake is heard with his
longtime percussion partner Michael Zerang in a rather
unlikely pairing with Isabelle Duthoit (voice andclarinet) and Franz Hautzinger (trumpet). This concert
recording from the 2020 Artacts Festival in St. Johann,Austria is something of an animalistic outing, full of
impulse and patterned behavior that sometimes—
especially in Duthoit’s vocals—can verge on terrifying.
The two halves play with the power of their convictions,sometimes in tandem but open to diverging paths. Thisapproach of two plus two only sometimes equaling
four pays off in the final track, when Drake’s chants
provide a second voice and the trumpet calls like arooster, signaling that we’ve made it through the darkof night. Âme (Live at Artacts) makes the blood rush.
For more information, visit intaktrec.ch and trost.at. Drakeis at Vision Festival Jun. 22nd, 24th and 25th. See Calendar.

Pink Dolphins
Anteloper (International Anthem)See You Out There (with Jaimie Branch and David Murray)
Dave Gisler Trio (Intakt)
by Phil Freeman

In the five years since releasing her solo debut, Fly Or

Die, trumpeter Jaimie Branch has become one of themost vital and interesting musicians on the current
jazz scene. In addition to a sequel and a live companion
to that album, she joined saxophonist James Brandon
Lewis for a powerful quintet album and recorded aspart of Rob Mazurek’s Exploding Star Orchestra.
Her piercing tone and wild, fanfare-like lines soundlike no one else and she blends the melodic freedomof out jazz with a totally dialed-in sense of rhythm
and groove few players can match. She is thrilling towatch and to hear.
In addition to her main bands—Fly Or Die and atrio that has yet to record—Branch is half of Anteloper,a duo with drummer Jason Nazary focusing onelectronics, mostly analog synths that burble and zap;
their debut, Kudu, was released in 2018, followed bya four-track EP, Tour Beats Vol. 1, a year later. On Pink
Dolphins, some new elements have been added to theircore sound, most notably Branch’s vocals (she started
singing/reciting poetry on Fly Or Die II: Bird Dogs Of
Paradise). When she plays trumpet, it is often mixed
into the background, worming its way through the
Excepter-like electronics and hazy, lethargic beats.
Nearly half the album is taken up by its closing track,the 15-minute “One Living Genus”, a soundtrack tolucid dreams, which sounds like staring up at the sun
from the bottom of a freshly cleaned pool.
In 2020, Swiss guitarist Dave Gisler invited Branch
to guest at a concert in Zürich; the resulting live album
was a surprisingly abstract, yet gritty and rockin’journey through the land of skronk ’n’ squall, with
post-Sonny Sharrock guitar floating atop dubby
grooves, followed by explosive punk-rock riffing withplenty of searing, squealing trumpet. See You Out Thereis a studio recording and this time Branch isn’t the only
guest horn: saxophonist David Murray is there too.
The two of them are a perfect team on the fast numbers(“Bastards On The Run” is played at hardcore punkspeed, but so were half the tunes by Murray’s early’80s Octet) and on slower, more atmospheric pieces
like the title track and the bluesy “The Vision”, they
seem to be inventing a whole new jazz-rock language.
For more information, visit intlanthem.com and intaktrec.ch.
Branch is at Vision Festival Jun. 23rd. See Calendar.

Trios: Chapel
Charles Lloyd (Blue Note)by Monique Ngozi Nri

In preparing for this album, this reviewer immersed

herself in the music and life experience of master tenor
saxophonist/flutist and consummate human being
Charles Lloyd. His start in the music was auspicious.
He won a local competition in his hometown ofMemphis at nine. He was observed by the 16-year-old
local genius pianist Phineas Newborn, Jr. Informing
Lloyd that he needed lessons badly, Newborn delivered
him to the Mitchell Hotel on Beale Street to begin hismusical apprenticeship with local saxophonist Irvin L.
Reason. Lloyd’s account of the milieu in which he grew
up—a mother who hosted the likes of Duke Ellington’sband when they came to town because of segregation
and a best friend in trumpeter Booker Little—sounds
like fertile land in which to grow his skills. Newborn
later took Lloyd into his band.
Lloyd’s trajectory from there took him to
Los Angeles, where he studied classical music at USC
during the day while playing with avant gardemusicians such as Ornette Coleman and Billy Higgins
at night. Following a move to New York at 22, Lloyd’s
work with Chico Hamilton and Cannonball Adderley
is well cataloged. He had subsequent commercial
success with his own bands, including the famed Forest
Flower. Lloyd is credited with bringing other cultures
to his own music long before it was trendy, including
collaborations with Greek singer Maria Farantouri andBrazilian vocalist Gilberto Gil. He left the jazz scene
for a decade, then returned in the ‘80s and has
continued pushing the boundaries ever since.
His latest offering is Trios: Chapel, the first of threeplanned trios with different musicians in different
settings. It is yet another masterpiece. Emphasizing
collaboration and support between the musicians, thislive recording from the Coates Chapel, Southwest
School of Art in San Antonio, TX takes a bare-bones
approach to the melodies.
The liner notes begin with a quote from Lloyd.
“From the beginning, meaning has been assigned tonumbers—practical, powerful, fanciful, philosophical,
mystical, spiritual… For Pythagoras, 3 was considered
the perfect number, the number of harmony, wisdom
and understanding. It was also the number of time—
past, present, future; birth, life, death; beginning,
middle, end – it was the number of the divine.”
The five tracks vary in length from 7:14 (Cubansong “Ay Amor”) to 12:16 (“Dorotea’s Studio”,
dedicated to the studio of his creative partner,
filmmaker/painter Dorothy Darr). Darr has a numberof credits on the recording: co-producer, cover art,
photos, design and management for the Forest FarmMusic and Art. Truly a collaborative team!
Billy Strayhorn wrote the first song, “BloodCount”, in the hospital before his May 1967 death.
Lloyd lingers on the plaintive melody, ably supported
by guitarist Bill Frisell. The clarity is mesmerizing inthis slow-tempo song, perhaps a direct tribute to Phil
Schaap, the New York warrior for the documentationof the music, who died in September 2021 and to whom
the album is dedicated. Lloyd’s “Song My Lady Sings”
begins with a duet between bassist Thomas Morgan
and Frisell before Lloyd enters. The song was included
on the 1964 album Cannonball Adderley Live!, in which
Lloyd took part. “Ay Amor” was written by themultilingual, black, gay, Cuban pianist and singer Villa
Fernández Ignacio Jacinto, also known as Bola deNieve. The melody is distinctly Caribbean and Lloyd
infuses his playing with this sentiment in an
acknowledgment of his global impulses. “Beyond
Darkness” and “Dorotea’s Studio” are also Lloyd
originals. The former features Lloyd on flute while thelatter evokes the spirit of his partner and soulmate,opening with solo guitar before Lloyd brings the piece
to a climax. A fitting end to a beautiful concert.
In a 2015 interview with Darr following a screeningof her film about him, Arrows into Infinity, Lloydstated simply, “I am in service to be a music maker.
That has always interested me more than themarketplace.” He has once again demonstrated that
simple but powerful truth.
For more information, visit bluenote.com. Lloyd is at Sony
Hall Jun. 26th as part of Blue Note Jazz Festival. See Calendar.

DROP THE NEEDLE+Eleven
Art Pepper (Contemporary-Acoustic Sounds)
by Duck Baker

When Contemporary released Art Pepper Meets The

Rhythm Section in 1957 (with Red Garland, Paul
Chambers and Philly Joe Jones), it solidified Pepper’s
reputation as one of the best modern alto players on
the scene. Owing largely to the chaotic nature of
Pepper’s personal life it was another couple of years
before the label could record a followup and this timethe idea was to present him in a different context,
basically a two-horn quintet—the other featured hornis the brilliant trumpeter Jack Sheldon, who is infantastic form—with six horns added (drawn from apool of Pete Candoli, Al Porcino, trumpets; Dick
Nash, trombone; Bob Enevoldsen, trombone, tenor
saxophone; Vince de Rosa, French horn; Herb Geller,
Charlie Kennedy, Bud Shank, alto saxophones; Richie
Kamuca, Bill Perkins, tenor saxophones; Med Flory,
baritone saxophone) and a rhythm section of Russ
Freeman, Joe Mondragon and Mel Lewis to playstreamlined big band charts. Almost no one else eversolos and the performances all clock in between three
to four minutes. Arrangements were provided by
Marty Paich who, like Pepper, came up in the late
‘40s in southern California. Their shared history
included several mid ‘50s recording dates and during
1959 they were practically joined at the hip; in
addition to the record under consideration, Pepper
worked on no less than eight other records for which
Paich did the arrangements that year. Busy though he
may have been, the charts Paich fashioned here wereanything but slapdash.
The tunes are all jazz classics and many had
already been recorded in medium to large-groupsituations. Paich sometimes references the originalrecordings, as he does at the beginning of the opener,
Denzil Best’s “Move”. The intro and A sections areclose to what John Lewis wrote for the Birth Of The
Cool sessions, but the bridge is different, drums more
prominent and tempo more relaxed. Pepper solos ontenor here, perhaps as a salute to Lester Young, who
influenced him nearly as much as Charlie Parker. Next
up is “Groovin’ High” and the 1946 recording by
Dizzy Gillespie and Parker is invoked in high style as
the saxophone section plays a harmonized version ofParker’s solo right after the head, much in the samevein Supersax would mine in the early ’70s. Sheldon
follows with a nifty muted solo before Pepper takes
two inspired boppish choruses. Another Gillespie/
Parker classic, “Shaw Nuff”, demonstrates the sharp
teeth these supposedly laid-back West Coasters had. It
is played at an even faster tempo than the original andworth several listens just to savor the almost explosive
statement of the theme by the lead horns, as well as
their stratospheric solos. In addition to playing tenor
on a couple of tracks, Pepper is on clarinet for“Anthology”, making one wish he had done this much
more often. The rest of the set is uniformly strong andthe chance to hear all the detail on this beautifully
produced 180-gram vinyl LP will delight audio buffs
who only know the music from lower-fidelity releases.
For more information, visit store.acousticsounds.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 29

IN PRINT

Welcome To My Dream
Neal Kirkwood (s/r)
by George Kanzler
My Life in the Sunshine: Searching for
My Father and Discovering My Family
Nabil Ayers (Viking)by Kevin Canfield

N abil Ayers has worked in the music industry for

30 years, so it is only natural that his perceptive newbook would reserve a key role for a famed musician.
But this isn’t a biography or a work of criticism.
Instead, the president of American operations for
Beggars Group’s record labels has written a memoir
focused on a paradox: How has his “nonexistentfather”—the genre-spanning vibraphonist Roy
Ayers, who has never sought a relationship with
him—“maintained so much presence in my life,
despite only a handful of human interactions”?
My Life in the Sunshine: Searching for My Father andDiscovering My Family takes its name from a line in
Roy Ayers’ “Everybody Loves the Sunshine”,
a prototypical ‘70s slow jam. But the title bears anironic bite, for Ayers’ oft-idyllic youth andsubstantial career were forged with neither help nor
attention from the elder Ayers.
“My mother remembers distinctly that when
she met Roy, she said to herself, ‘This is the person
I’m going to have a baby with’,” Ayers writes. This
happened at a Manhattan jazz club—the sincedefunct Village Gate—in 1970. After Louise
Braufman and Roy Ayers went on a few dates, she
told him she wanted to have his child. “He agreed,”
Ayers writes, “but he also made it clear that if she
did get pregnant, she’d be on her own.” She raised
her son—with help from her jazz saxophonist
brother Alan Braufman—in Massachusetts, NewYork and Utah. His father ’s absence, Ayers recalls,
was a nonissue in a “perfect” boyhood lived
alongside other families headed by impressive
single mothers. “Many of my friends were also of
mixed race,” he writes, describing his hair and skintone as “somewhere in between” The Beatles andStevie Wonder. As an aspiring musician, hesometimes felt he had “no one to directly emulate”.
Ayers’ earliest memory of Roy dates to 1980,
when he visited his father at a Manhattan recording
studio: “The only thing he said was ‘You want some
tempura?’” During his teens and 20s, Ayers didn’t
see Roy at all. But this is a magnanimous andinsightful memoir. Roy’s absence inspired him“to break a pattern and to be a male connector in thefamily”, forging relationships with relatives hedidn’t meet until middle age.
Meanwhile, this book celebrates Louise’s
attentive and fun parenting style—they saw a KISS
concert when he was seven—and chronicles Ayers’
own rise from music-mad kid and 20-somethingrock drummer to record-store owner and label
executive. As an 11-year-old and lifelong East
Coaster who had just moved with his mother to Salt
Lake City, he developed the eccentric habit of calling
the Sam Ash music store in Midtown Manhattan
and asking about instruments he knew he would
never buy. Music, he writes, was “in my blood”.
For more information, visit penguinrandomhouse.com.
A release event is at Ace Hotel Brooklyn Jun. 7th at 7 pm.

Burton Lane’s, with Alan Jay Lerner ’s lyrics, “On A
Clear Day” is not exactly a big favorite amongstandards for jazz musicians. Yet Neal Kirkwood leads
off this short, delightful piano recital of eight standards
with it and the results are truly memorable. For
Kirkwood, a composer and bandleader (his Octet had aweekly residency at the midtown Savoy Club in the‘90s), this album is a rare excursion into repertoire.
The track begins with a romantic, sumptuously
two-handed rubato prelude suggesting a stormymaelstrom, subsiding as treble tinkles sparsely imply
the familiar “on a clear day” refrain notes of the song.
It is full-blown impressionism, continuing as the restof the melody emerges in the middle register while the“clear day” tinkling continues. A full rendition of thesong gives way to a midtempo improvisation straightout of the modern mainstream era before receding to a
finale of the spare melody. Lane’s “How About You”
follows in a short take that stylistically echoes the “On
A Clear Day” improvised section.
Kirkwood luxuriates in an impressionist manner on
two other ballads. The Jimmy Van Heusen-Johnny Burke
title track presents the refrain unadorned, then sprinkles
on chords in a more developed reprise. Richard Rodgers
and Oscar Hammerstein’s “Some Enchanted Evening”
unabashedly stresses the enchantment of the melody. On
more uptempo tracks, Kirkwood explores aspects of jazz
piano style and history, invoking both stride and
Thelonious Monk-ian hesitation on Frank Loesser’s “I’ve
Never Been in Love Before” and applying a tango
template to Richard Rodgers-Lorenz Hart’s “Nobody’s
Heart” before taking it to Memphis in an improvisation
redolent of barrelhouse blues. And there are winks of
Erroll Garner on Rodgers-Hart’s “There’s a Small Hotel”,
as well as stride.
For more information, visit nealkirkwood.com. This projectis at Soapbox Gallery Jun. 22nd. See Calendar.

3 Trios (Live at Miller Symphony Hall)
Gene Perla/Adam Nussbaum (PM)by Scott Yanow

V eteran bassist Gene Perla planned 3 Trios as a good

excuse to play with his old friend drummer Adam
Nussbaum and to feature three different pianists intrios. The project was recorded at the height of thepandemic (Nov. 20, 2020) at Miller Symphony Hall in
Allentown, PA. Perla had the pianists choose theirtunes and, as it turned out, their playing and their songselections are quite complementary to one another.
Perla and Nussbaum take occasional short solos but
the focus is on the pianists, each of whom fare well.
In his four songs, Davis Whitfield creates aparticularly stimulating mini-set, which contains a few
surprises. “The Japanese Sandman”, a sentimental

30 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

Richard Whiting-Raymond Egan ballad recorded in
the 1920s by Paul Whiteman and Isham Jones, is taken
at a blazing tempo that Oscar Peterson could have
utilized although the pianist sounds closer to
Thelonious Monk and Bud Powell. It has probably
never been recorded in this way and really cooks.
Whitfield also performs his tribute to the late pianist
Jaki Byard (“John Arthur”) without making an attempt
to sound like him; Harry T. Burleigh’s “Deep River”,
which begins in an abstract fashion before getting
quite heated; and Perla’s “For All The Other Times”.
The latter, a minor blues, is a change of pace for it has
alto saxophonist Dan Twaddell and tenor saxophonist
Dan Wilkins sitting in with the trio and displaying
original tones during their postbop explorations.
Leo Genovese, the best known of the pianists,
stretches out on three folk songs. Sounding very much
like McCoy Tyner, he utilizes a similar approach oneach of his performances, taking “The Wayfaring
Stranger”, “Go Down Moses” and “House Of The
Rising Sun” at much faster tempos than one would
expect, generating a great deal of heat and passion
along the way.
Oscar Williams II performs Gus Edwards-Will D.
Cobb’s ‘50s R&B hit “School Days” (which Dizzy
Gillespie enjoyed playing at the time) as a midtempo
blues, gives Harry Carroll-Joe McCarthy’s “I’m Always
Chasing Rainbows” a very slow and heartfelt treatment
before swinging it at a medium tempo and revives
Lorenz Hart-Franz Lehár-Leo Stein-Viktor Léon’s“Vilia”, the latter a fairly obscure standard John
Coltrane had recorded in 1963 and which appeared on
the 2018 release Both Directions at Once: The Lost Album.
For more information, visit pmrecords.com. Perla andNussbaum are at Nublu 151 Jun. 30th. See Calendar.

Secular Psalms
Dave Douglas (Greenleaf Music)
by Jim Motavalli

P rolific trumpeter Dave Douglas was commissioned

by Handelsbeurs Concert Hall in Ghent, Belgium towrite and arrange the music on Secular Psalms. The
inspiration for the pieces was the polyptych altar art“The Adoration of the Mystic Lamb” by Jan and Hubert
van Eck, hanging in the city’s St. Bavo’s Cathedral.
The monumental art work was begun in the 1420s,
so the music celebrates its sexacentennial. As played, it
is pandemic music—recorded separately/remotely
between May 2020-August 2021—by Douglas,
Berlinde Deman (tuba, voice, serpent), Marta Warelis(piano, prepared piano, pump organ), Frederik Leroux(guitar, lute, electronics), Tomeka Reid (cello) andLander Gyselinck (drums, electronics). Texts come fromthe Latin Mass, the Psalms, the Italian-born writer
Christine de Pizan who served the French court in thelate 14th Century-early 15th Century and Marvin Gaye!
Deman intones many of the texts, rather low in themix. Some of the singing is fairly atonal and has more incommon with Gregorian chant than anything like jazz.
But “If I’m in Church More Often Now” is cast as acontemporary jazz ballad and Deman’s singing is lovely.
The “her” of the song probably refers—at least overtly—to the Virgin Mary, but it could also be about a secret
love, de Pizan sounding very contemporary in this case.
“Hermits and Pilgrims”, a standout track, makes
effective use of haunting cello before segueing into
a propulsive processional, which could be thosepilgrims making their way to the Holy Land, with a bitof Sun Ra’s swing and great drumming. Douglas alsosolos very effectively. “Righteous Judges” is a tuba
workout with skittery electronics.
“Ah Moon” is a somewhat lugubrious listen, but
de Pizan’s words—criticizing the moon’s light forrevealing too much to a lover—are gorgeous,
reminiscent of Rumi. The album closes with “Edge ofNight”, an elegy for the end of a pandemic day with
Douglas’ very contemporary words about the arduous
making of the album over years of lockdown. A fitting
and enduring closer. Ideally, this music would berecorded live by these players in the cathedral, withthe van Ecks’ work behind them.
For more information, visit greenleafmusic.com. Douglas is
at The Stone at The New School Jun. 22nd. See Calendar.

Feeling Good: Her Greatest Hits & Remixes
Nina Simone (UMe/Verve)
by John Pietaro

Midway to the turn of another year, the casual listener

breathtaking traditional ballad “Black is the Color”,
Abel Meeropol-Billie Holiday’s “Strange Fruit”, “Don’t
Let Me Be Misunderstood” (Bennie Benjamin-Horace
Ott-Sol Marcus), Nat Adderley’s “Work Song”, Duke
Ellington’s “Mood Indigo” and the Gershwins’“I Loves You Porgy”, but somehow the compilers left
off “I Wish I Knew How It Feels to be Free”, “Why (TheKing of Love is Dead)” and Simone’s moving
adaptations of Bob Dylan, The Bee Gees and others.
The seven remixes often rely on the sheer electronics
of the moment, albeit the new take on “Sinnerman” (bySofi Tukker) is true to the song’s rhythmic texture andwell carries the message baked into Simone’s cutting
lyric. “My Baby Just Cares for Me” as remixed by Honne,
features his bass guitar up front, with Simone’s low,
smoky vocal taken precariously down a step andrhythmically deposited into spacious, funky backing.
Similarly, Rudimental’s “Take Care of Business” makes
great use of the original recording’s large ensemble,
heard now at a distorted, cloudy distance from the vocal
and drum programming, pulsating but not harsh. On
the other hand, “I Put a Spell on You” as remixed byFloorplan, is banished into Giorgio Moroder clichéswith ceaseless electronic hi-hat and bass drum under
Simone sample repetitions. So reconstructed, the mix
actually severs the record’s very sensuality, something
never sought. Happily, album closer “Be My Husband”
is a gripping remix by Hot Chip, not only preserving the
integrity of the original vocal (and aspects of the original
piano solo), here bathed in reverb, an evocative span,
but perhaps increasing its original emotion and thestrength of the Simone legend.
For more information, visit ververecords.com. A Simone
tribute with the Harlem Gospel Choir is at Sony Hall Jun.
29th as part of Blue Note Jazz Festival. See Calendar.

could wonder why there is room for anotherrepackaging of Nina Simone hits. We in the know,
particularly after the biopic and documentary featureson the High Priestess of Soul, can revel in this two-CD
celebration. Perhaps it is just the packaging, but these
iconic songs seem fortified by renewed reach,brandishing a sonorous brilliance and warmth andcarrying an awareness of the story and relevance ofSimone. And the album credits offer insight into thesesessions, even if the mystery of who played the tenorsolo on “I Put a Spell on You” sadly continues (KingCurtis? Probably, but no one seems to know). The
album’s specific uniqueness, however, lies in the final
seven cuts, remixes all by noted DJs. With fulltransparency, this writer must admit that the names
were unfamiliar, yet such reimaginings add a newurgency to classic material.
Taken as a whole, the selections herein are
essential, opening with Anthony Newley-Leslie
Bricusse’s “Feeling Good”, which experienced a rebirth
as a commercial jingle, its moving breathiness pouringfrom televisions in the height of lockdown. This cut,like most of the material here, features not only
Simone’s wealth of voice and her pianistics of fullemotional command and classical pedigree, but also
the accompaniment of her regular trio: guitarist Rudy
Stevenson (doubling, at points, on flute), bassist Lisle
Atkinson and drummer Bobby Hamilton as well as theorchestration of producer Hal Mooney. By the late ‘50s,
the latter already held acclaim in music circles fromwork with Sarah Vaughan, Kay Starr, Bing Crosby,
Billy Eckstine and Judy Garland, his career initiallyflourishing within the big band era.
Most of Simone’s “greatest hits” are here, from thelegendary “I Put a Spell on You” (“Screamin’ Jay”
Hawkins) and Hair medley “Ain’t Got No/I Got Life”(Galt MacDermot-James Rado-Gerome Ragni) to theswinging “Love Me or Leave Me” and “My Baby Just
Cares for Me” (both Walter Donaldson-Gus Kahn) andher wonderfully incendiary original “Mississippi
Goddamn”. Slightly lesser-known titles include

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 31

Aeolian
Keith Tippett/Matthew Bourne (Discus-Music)
Mahogany Rain
Keith Tippett, Julie Tippetts, Philip Gibbs,
Paul Dunmall (Duns-577 Records)
Illusion
Julie Tippetts/Martin Archer (Discus-Music)
by John Sharpe

P ianist Keith Tippett, who died two years ago thismonth at 72, cast a multifaceted light across the UK
jazz scene as a bandleader, improviser and composerof both jazz and contemporary music.
A format that he revisited on several occasions
was the piano duo, with his first venture being a 1976
encounter with celebrated UK elder Stan Tracey,
followed in 1981 by a pairing with peer Howard Riley.
His last foray into the configuration was with Matthew
Bourne, 30 years his junior, yielding Aeolian, a double
album comprising live and studio sessions from 2019.
In spite of the generational differences, they constitutean empathetic combination, in which concordancerules, as they change tack in tandem, one finishing theother ’s lines. It often sounds like a dialogue taking
place where they agree on most things. That isparticularly marked on the eight studio duets. But it
doesn’t equate to anodyne listening, as the trade inrolling figures, clipped gestures, unconventional
textures, music box sonorities and more arrives
complete with departures into the unexpected, as
when Tippett’s clanking modifications insert a dose ofmagic or Bourne’s sudden staccato motifs break up theflow. The first disc finishes with a beautiful elegiac
torch song extemporized by Tippett alone who, whensomeone in the studio asks what that was, replies selfdeprecatingly with what became the title: Oh just“Something I Made Up”. While on the studio date thereferences that come to mind are as often classical—
minimalism, Satie, Beethoven, Cage—as jazz, on the
single 38-minute concert track they are more jazzadjacent, angular and rhythmic, touching on country
blues, bop and folk. It is a mesmerizing double act.
On Mahogany Rain, a reissue from 2005, Tippett ispart of an unfettered foursome who embark on anhour-long, largely introspective, journey: wife/vocalist
Julie Tippetts (he dropped the final ‘s’ from his birthname for performance); reedplayer Paul Dunmall, hispartner in the freewheeling quartet Mujician; andanother regular associate in guitarist Philip Gibbs.
Like the others, Tippett puts himself at the service ofan egalitarian group ethos that is variously playful,
impulsive but above all reactive, ever ready to latch
onto promising gambits. With his composer ’s ear, healso adds structural elements, like the intermittent
harpsichord-sound-alike lilt he reiterates in the central
part of the slow moving, spacious communion. The
open transparent, often melodic, sound could be
described as meditative except that there are a few too
many uneasy moments, which roughen the grain andgive it greater traction. There are some lovely episodes
too. One comes early on when Dunmall holds a longsustain while Tippetts’ ethereal vocals oscillate aroundit, shimmering deliciously between consonance anddissonance. Another arrives later as stark piano
chording earths squalling soprano, presaging theassertive concluding passage in which Tippett’s burstsof brooding melody and bass register rattling converge
with Dunmall’s airy phrases, as one answers the otherin a lyric call-and-response.
Illusion Suite is ambient experimental music of adifferent kind, recorded between 2014 and 2021, by
Julie Tippetts (who turns 75 this month) and Martin
Archer on whose Discus imprint the double-album

appears. Archer not only co-wrote much of the music
but also contributes keyboards and all the reeds,
alongside an extended cast list. It is the fifthcollaboration between the pair, but the first in six years
and probably the most ambitious. At the heart of the
140-minute project are Tippetts’ mysterious lyrics,
exploring the notion of escaping the humdrum and thetransformative allure of running away with the circus.
Musically it is panoramic, encompassing avant-pop,
jazz-rock, ballads, noise and electronica, often in
multiple guises at the same time. That is particularly
the case on the first CD, the titular suite, which contains
three layers: Tippetts’ frequently overdubbed vocal
arrangements, which range from abstract to soulful to
sublime (“Bare Back Rider”); the accompanying
ensemble, which embraces a squad of young UK talent
including guitarist Anton Hunter, trumpeter Charlotte
Keefe and vibraphonist Corey Mwamba; and anelectronic foundation, assembled by Archer fromseparate soundscapes resulting from chance proceduresby four different players. So although Tippetts’ vocals
most grab the attention, they sit atop a dizzying
kaleidoscope of sound. Although much smaller
permutations drawn from the ensemble with guests
are responsible for the 13 tracks on the second CD,
Circle Of Whispers, the outcomes are often still densely
woven backdrops to Tippetts’ shapeshifting voice andthe songs remain primarily vehicles for the words,
rather than solo fireworks. Nonetheless, anyone with
open ears will find much to savor.

sensational groove with pizzicato pluck and featherybrushes on “Jones Free Jones”, enabling Ochs to warble
in a joyously gruff exploration bringing to mind prime
Archie Shepp (think On This Night, for reference.)
Tarasov opens “RBG Jones” by tattooing an infectious
beat on snare as Dresser injects bi-tonal tapping andOchs swings for the fences with a blistering caterwaul.
The penultimate selection, “Further Adventures of Ms.
Microtonal Jones”, highlights the almost impossibly
rich sound of arco bass in contrast to shimmering
cymbals and soaring sopranino commentary.
Anyone who loves the work of a truly exploratory
saxophone trio that extrapolates the revolutionary
templates of the ‘60s would be wise to seek this out.

For more information, visit discus-music.co.uk and 577records.com

Okazaki’s WORK, the complete compositions of
Thelonious Monk for solo guitar, transcribed andrecorded Eric Dolphy’s entire oeuvre (except “Out
There”, co-credited to Charles Mingus), employing
a variety of approaches on acoustic guitar. All tracks
are live, with no dubbing or digital ‘scrubbing’, so you
can hear him sniffing and exhaling, a chair squeaking,cat mewling, string noises, even small ‘mistakes’—
what you would notice sitting in a room listening tohim—all of which lends intimacy and immediacy.
Like Dolphy (Jun. 20th, 1928-Jun. 29th, 1964),
Salamon is essentially a formalist, using musicalstructures as points of departure to create improvisations,which, though they can sound random or ‘out’,
nevertheless adhere to strict logic, serving as alternate
pathways to the same endpoint. He carefully nurturesideas but is also extremely adaptive, not averse tobranching these ideas in tangential directions likedendrites on a neuron. He is not trying to orchestrate
the songs for guitar à la Ted Greene or Joe Pass, though
tracks like “Springtime” show a nice balance ofcomplementary parts, but generally eschew steadybasslines and repeated vamps in favor of unhinderedsingle-note runs punctuated by small but suggestive
chord clusters, harmonics and low-string punches,giving him flexibility to pursue longer phrases. 		
Sometimes, like early country blues musicians, hecontracts or extends the form according to whim. On“Springtime” and “Hat and Beard”, for example, he is
so immersed in his solo that he temporarily abandons
form and groove. Not as articulate a technician as
Dolphy, he renders his fastest passages with legato
hammer-ons, generating considerable excitement in theunusual shape of his lines, which mix rhythms, often
contain internal rhymes and zigzag or leap
unexpectedly. There is a hint of blues and more thana dollop of swing. Even his most abstract and complex
ideas, delivered with tumbling urgency, almost tripping
over themselves, still retain rhythmic bounce. 5 of the
28 tracks are played on 12-string acoustic guitar, 1 on
mandolin, but the predominant timbre is 6-string
acoustic, making the double-CD set a long listen for asingle sitting. Howeber, the tracks are generally shortand Salamon’s eclectic approach to each song and his
pervading creativity ensure time well spent.

Just Justice
Jones Jones (ESP-Disk’)by Robert Bush

J ones Jones seems like such a pedestrian name for atrio of decidedly revolutionary dimensions but theseplayers manage to transcend. Saxophone trios arenothing new in the music, dating back to the ‘50s, butwhen one combines Larry Ochs (tenor and sopranino
saxophones), Mark Dresser (bass) and VladimirTarasov (drums, turning 75 this month) sparks will fly.
This collectively improvised album was recorded on
Jan. 12th, 2020 at Studio B on the campus of UC-San
Diego, where Dresser is a professor, just prior to the
COVID-19 pandemic.
The pedigrees of each member of Jones Jones isquite impressive: Ochs is the O in the ROVA Saxophone
Quartet; Dresser came to fame as a 10-year member ofthe Anthony Braxton Quartet; and Tarasov is best
known as a member of the Ganelin Trio.
The album begins with an almost orchestral
vibration, courtesy of deep drum tones. Dresser attacks
his instrument from every direction other than whatis expected and Ochs stokes the fire with a garrulous
bellicosity. Dresser sets up “Bali Hai Jones” witha rough-sawn arco that could leave splinters, as Ochs
pitches and yaws over the defiantly non-metronomic
pulse of the drums. Many of these tracks are seamlessly
performed with great variety without running out ofsteam. On “Call Of The Jones”, the bassist heraldsa hair-raising dissonant drone with the bow, virtuallydaring Tarasov into a hailstorm of activity, reminiscentof Rashied Ali’s explosive contributions to John
Coltrane’s Interstellar Space, especially when Ochs
launches into a series of screaming, squealing
multiphonics. The bassist and drummer conjure up a

32 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

For more information, visit espdisk.com

Dolphyology (Complete Eric Dolphy for Solo Guitar)Samo Salamon (Samo)by Tom Greenland

Slovenian guitarist Samo Salamon, inspired by Miles

For more information, visit samosalamon.com

B OXED SE T

The Chicago Symphonies
Wadada Leo Smith’s Great Lakes Quartet (TUM)
by Franz Matzner

The Chicago Symphonies is a tome. This is not

surprising for trumpeter Wadada Leo Smith, whose
history spans seven decades. He has neverconstrained the ambitious scope of his output yet
The Chicago Symphonies is a four-disc set reflecting
the almost manic pace at which Smith is presently
releasing material, almost as if racing against time togive form to the seemingly endless fount of creative
spirit churning in his mind.
Performed by Smith, John Lindberg (bass),
Henry Threadgill (alto saxophone, flute and bass
flute), Jack DeJohnette (drums) and Jonathan Haffner(saxophones), the four symphonies, Gold, Diamond,
Pearl and Sapphire: The Presidents and Their Vision for
America, revolve around the influence of significant
Chicago-based composers, from early progenitors
such as Louis Armstrong and Lil Hardin to presentday masters. Each is filled with light, grace, density,
etherealness and rhythmic alteration, all articulatedby Smith’s unique language of sound-rhythm units.
These function as key building blocks for dynamically
fluid, psycho-emotional musical constructions.
Approaching the evolutionary timeline ofChicago’s creative music, the set is roughly threehours. “Creative Music: West End Blues and the
Sonic Weather Bird: Louis Armstrong, Earl Hines, Lil
Hardin and Baby Dodds” utilizes pared-down
sections, drum beats evocative of horse hooves anda constantly shifting focus on each player ’s tonal
voice to delve into the confluence of influences andindividuals that birthed jazz proper in the 1920s.
Smith addresses another turning point in creative
music’s evolution, the genesis of which he was apart, through the especially textural “Muhal Richard
Abrams: Levels and Degrees of the Light Spectrum;
A New Culture: The Association for the Advancementof Creative Music”. Sonorous flute, the subtlest ofcymbal work and tantalizing snare, coupled withdiscreet bass and periodic trumpet interruptions,fuel the composition’s multiple strata. The piece also
is notable for the solo space captured by eachmusician, reaffirming in microcosm the ingenuity ofSmith’s structures and their embodiment in the
instantaneous invention and seamless interaction
among the quartet. Particularly distinguishable on
this piece, but also remarkable across much of theboxed set, master colorist DeJohnette’s inimitablestyle adds much to the proceedings. Smith also pays
tribute to Sun Ra with ”Heliocentric Sun Ra’s Energy
ad Particles of Light”, flute rising to the fore,
establishing an aural ligature between past andpresent, a pattern that repeats throughout the set.
To appreciate Smith’s music fully, it also is
important to understand that the lengthy titles

should not be interpreted literally or linearly. They
are pathways to deepen interpretation and examplesof Smith’s method of interpolation; musical and nonmusical themes unfold in many shapes and multiple
time spheres simultaneously, not just metrically but
at every level of the composition’s presentation.
Sapphire perhaps most clearly epitomizes thisphenomenon. Four of its five movements are tied toeither Abraham Lincoln or Barack Obama, the fifth
dedicated to both. The ample accompanying materials
include Lincoln’s Gettysburg address and Obama’s
2015 speech at Selma. In its entirety Sapphire utilizes
an intersection of mediums and methods to establish
a conceptual and sonic statement of historiccircularity, political warning and the power of hope.
Musically, “Abraham Lincoln, the 16th President of
the United States of America” begins with march-likesnare and spacious, redolent bass, which are constantthroughout the piece, upholding trumpet calls like afirm spine. “Barack Hussein Obama at Selma: The
Bridge of Transformation” starts in a similar fashion
but the pulse is looser, inlaid with funk and jazz
swing; the notes tinged blue and then clarion clear.
It is impossible not to notice some repetition
sneaking into Smith’s oeuvre. This may be inevitableconsidering the volume of Smith’s recent output,
but also shows a consistency of trajectory extending
over many decades. Smith’s art demands vigilant
observation to discern the subtle shifts and swells
that live within the superstructures of eachcomposition, let alone across an entire project.
For more information, visit tumrecords.com. Smith
receives a Lifetime Achievement Award and will appear at
Vision Festival Jun. 21st. See Calendar.

JUNE 1JOE BLOCK TRIO AND QUINTET AND
MIKI YAMANAKA TRIO: KEY VOICESJUNE 14YOUNGJOO SONG SEXTETJUNE 15JUNE 27

BRYAN CARTER PRESENTS
JAZZ AT PRIDE: NYC

PAPO VÁZQUEZ MIGHTYPIRATES TROUBADOURSJAZZ AT LINCOLN CENTER YOUTH
ORCHESTRA & JAZZ HOUSTONYOUTH ORCHESTRA

JUNE 28

JUNE 3–5

JUNE 16

JUNE 29–30

JUNE 2

GERALD CANNON SEPTET:MCCOY AND ELVIN
JUNE 6STEVE KROON LATIN JAZZ SEXTETWITH SPECIAL GUEST RON BLAKE
JUNE 7

THE ANDERSON BROTHERS PLAY
CHARLIE PARKER
JUNE 8–9

BRIANNA THOMAS
JUNE 10–12

DION PARSON &21ST CENTURY BAND
JUNE 13

BMI’S JAZZ COMPOSERS
WORKSHOP SUMMER SHOWCASESTEVEN FEIFKE BIG BAND
JUNE 17–19

BOBBY SANABRIA MULTIVERSEBIG BAND: VOX HUMANALUISITO QUINTERO
AND 3RD ELEMENTMICHELE ROSEWOMAN’SNEW YOR-UBA: A MUSICALCELEBRATION OF CUBAIN AMERICAJUNE 20CONNIE HAN TRIOWITH SPECIAL GUEST RICH PERRYJUNE 21–22

JAZZTOPAD FESTIVAL:JAMES BRANDON LEWISWITH LUTOSŁAWSKI QUARTET
AND KAMIL PIOTROWICZ SEXTETJUNE 23–25

THE COOKERS
JUNE 26

RODNEY WHITAKER SEXTET

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

212.258.9595
BROADWAY AT 60TH ST.

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 33

CALENDAR
Wednesday, June 1• Highline: Alyssa Venora, Emily Gaggiano, Mark Farnum, Nick Gordon, Jared Graveley

		
The Atlantic BKLN 8:30 pm $20
êAdam O’Farrill
Bar Bayeux 8, 9:30 pmêBlacksalt: Lucian Ban/Abraham Burton
		
Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êRandy Brecker, Dave Liebman, Marc Copland, Drew Gress, Joey Baron				
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night with John DiMartino, Gary Mazzaroppi, Vince Cherico
and guest Houston Person
Birdland Theater 8:30 pm $30
êDOMi/JD Beck
Blue Note 8, 10:30 pmêPete Malinverni
Bryant Park 12:30 pm• Saul Rubin Trio
Cellar Dog 7 pm $10• Pam Brennan Quartet
Chelsea Table & Stage 7 pm $35• Keith Chasin Quintet with Andrew Carson, Colin Walters, Pat Oberstaedt,
Donovan Pope
Chelsea Table & Stage 9:30 pm $40• Joe Block Trio with Kimon Karoutzos, Anwar Marshall and Quintet with Noah Halpern,
Chris Lewis, Nathan Pence, Christian McGhee; Miki Yamanaka Trio		Dizzy’s Club 7:30, 9:30 pm $35• John Dokes with Steve Einerson, Malik McLaurine, Curtis Nowosad;
Emily Braden with Irwin Hall, Misha Piatigorsky, Danton Boller, Curtis Nowosad
		
The Django 7:30, 10:30 pm• Jazzmobile: T.K.Blue with Santi Debriano and Arkestra Bembe		
Grant’s Tomb 7 pmêEddie Palmieri Salsa Orchestra
Josie Robertson Plaza at Lincoln Center 7:30 pm• Marta Sanchez Quartet with Grey McMurray, Trevor Dunn, Tom Rainey				
Lowlands 8 pm
• Alberto Pibiri
Mezzrow 7:30, 9 pm $20• Will Bernard Pond Life with Tim Berne, Chris Lightcap, Ches Smith		
Nublu 151 7 pm $20
êRossano Sportiello/Harry Allen
Pangea 7 pm $25• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Sam Dillon
Smalls 7:30, 9 pm $20
êCathy Segal-Garcia, Jim Ridl, Dean Johnson, Tim Horner		Soapbox Gallery 8 pm $25
êEugene Chadbourne, Kresten Osgood, Jeb Bishop
		
The Stone at The New School 8:30 pm $20
êMike Rodriguez Quintet with John Ellis, Gary Versace, Carlos Henriquez, Obed Calvaire		
Village Vanguard 8, 10 pm $40
êBlue Note Jazz Festival: Robert Glasper		Washington Square Park 7 pm
• Wayne Tucker and The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm $20

Thursday, June 2êSteve ColemanêMarta Sanchez

The Atlantic BKLN 7:30 pm $20-25
Bar Bayeux 5:30 pm• Adam Kolker/Jeremy Stratton and guest Aubrey Johnson
		
Bar Bayeux 8, 9:30 pmêRandy Brecker, Dave Liebman, Marc Copland, Drew Gress, Joey Baron				
Birdland 7, 9:30 pm $40• Ty Stephens
Birdland Theater 8:30 pm $30
êKenny Garrett
Blue Note 8, 10:30 pm $35• Robert Glasper
Blue Note 12 amêPete Malinverni/Gary Smulyan
Bryant Park 12:30 pmêFrank Lacy Quartet
Cellar Dog 7 pm $10• Jonathan Saraga Sextet with Sam Dillon, Max Light, Martha Kato, Nick Jozwiak,
Peter Kronreif
Culture Lab LIC 7 pmêPapo Vazquez Mighty Pirate Troubadours with Jose Mangual, Ivan Renta,
Rick Germanson, Ariel Robles, Alvester C. Garnett, Carlos Maldonado, Jose Claussell
		Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet with Jeremy Pelt; ELEW Electro Acoustic Trio with Conrad Korsch,
Allan Mednard
The Django 7:30, 10:30 pm• Underground Horns
Groove Bar & Grill 7:30 pm• Robin Verheyen, Sebastien Ammann, Michael Bates, Jeff Davis; Emitime:
Tobi P., Santiago Leibson, Santiago Lamisovski, Samir Böhringer
		
Ibeam Brooklyn 9, 10:30 pm $20
êRoy Hargrove Big BandThe Jazz Gallery 7:30, 9:30 pm $30-40• Danny Jonokuchi and The Revisionists with Alexa Barchini, Chris Lewis,
Robert Edwards, Joshua Lee, Jocelyn Gould, Sean Mason, Brandi Disterheft,
Kevin Congleton
Josie Robertson Plaza at Lincoln Center 7:30 pm• John Dokes; Ray Gallon
Mezzrow 7:30, 9, 10:30 pm $20• Mario Diaz de Leon’s Heart Thread with Laura Cocks		
Roulette 8 pm $25• Solina: Eeppi Ursin, Olli Hirvonen, Kaisa Mäensivu, Joe Peri		
Scandinavia House 7:30 pm $15êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Adam Niewood
Smalls 7:30, 9 pm $20• Blue Note Jazz Festival: Madeleine Peyroux		Sony Hall 8 pm $50-95
êEugene Chadbourne, Kresten Osgood, Jah-Rohm Parker Wells
		
The Stone at The New School 8:30 pm $20
êVoid Patrol: Colin Stetson, Elliott Sharp, Billy Martin, Payton MacDonald
		The Sultan Room 7 pm $25
êMike Rodriguez Quintet with John Ellis, Gary Versace, Carlos Henriquez, Obed Calvaire		
Village Vanguard 8, 10 pm $40
êItai Kriss
Wild Birds 9 pm

Friday, June 3• Burt Bacharach Reimagined: Camille Thurman and the Darrell Green Quartet withMichael Wolff, Romero Lubambo, Buster Williams
		
The Appel Room 7, 9:30 pm $65-85
êSteve Coleman
The Atlantic BKLN 7:30 pm $20-25• Peter Watrous
Bar Bayeux 5 pm
• Sarah Elizabeth Charles
Bar Bayeux 8, 9:30 pm• Spirits Rebellious: Itai Kriss, Saul Rubin, Arthur Kell, Dennis Bulhões
		
Bar Lunàtico 8:30, 10 pm $10• Kathleen Supove
Bargemusic 7 pm $35• Birdland Big Band
Birdland 5:30 pm $30
êRandy Brecker, Dave Liebman, Marc Copland, Drew Gress, Joey Baron				
Birdland 8:30, 10:30 pm $40• Gil Guttierez Trio
Birdland Theater 7, 9:30 pm $30
êKenny Garrett
Blue Note 8, 10:30 pm $35
êPete Malinverni
Bryant Park 12:30 pm• Dave Gibson Organ Quartet; Matt Martinez Quartet
		
Cellar Dog 7, 11:30 pm $10êGeorge Braith
Clove Lakes Park 6 pmêGerald Cannon Septet with Steve Turre, Eddie Henderson, Joe Lovano, Sherman Irby,
Dave Kikoski, Lenny White
Dizzy’s Club 7:30, 9:30 pm $45• Dave Stryker Quartet with Joe Doubleday, Jared Gold, McClenty Hunter;
Marianne Solivan with Marianne Solivan, Leandro Pellegrino, Steve Wood, Jay Sawyer
		
The Django 7:30, 10:30 pm• Anaïs Maviel’s Before before & After after
		
JACK 8 pm• Alexis Cuadrado’s Silent Film Scores for Social Justice with Linda Briceño,
Román Filiú, Caroline Davis, Ryan Keberle, Sara Caswell, Yuhan Su, Ed Cherry,
Martha Kato, Shirazette Tinnin
The Jazz Gallery 7:30, 9:30 pm $25-35• Colin Heshmat/Yuma Takagi
Knickerbocker Bar & Grill 9 pm $3.50• Donald Vega
Mezzrow 7:30, 9 pm $20• Phil Young and The Harlem Hip Minton’s 7, 9:30 pm $20
êCraig Harris

Mount Morris Ascension Presbyterian Church 7 pm $20• Caleb Wheeler Curtis
Neighborhood Church of Greenwich Village 8, 9:30 pm• Marc Mommaas, Kenny Wessel and guest		
New York Jazz Workshop 9:15 pm $20
êWendy Eisenberg
The Owl Music Parlor 8 pm $12• Nathan Farrell; Carlos Abadie Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25
êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• John Bailey
Smalls 7:30, 9 pm $20• Kate McGarry
Soapbox Gallery 8 pm $25• Blue Note Jazz Festival: Madeleine Peyroux		Sony Hall 8 pm $50-95
êEugene Chadbourne, David Licht, Jah-Rohm Parker Wells, Jeb Bishop
		
The Stone at The New School 8:30 pm $20• Blue Note Jazz Festival: Kenny G Town Hall 8 pm $45-95
êMike Rodriguez Quintet with John Ellis, Gary Versace, Carlos Henriquez, Obed Calvaire		
Village Vanguard 8, 10 pm $40

Saturday, June 4• Burt Bacharach Reimagined: Camille Thurman and the Darrell Green Quartet withMichael Wolff, Romero Lubambo, Buster Williams
		
The Appel Room 7, 9:30 pm $65-85
êAngelica Sanchez/Adam Kolker Bar Bayeux 6 pmêVinnie Sperrazza Trio with Ravi Coltrane, Sean Conly		Bar Bayeux 8, 9:30 pmêRandy Brecker, Dave Liebman, Marc Copland, Drew Gress, Joey Baron		
Birdland 8:30, 10:30 pm $40• Gil Guttierez Trio
Birdland Theater 7, 9:30 pm $30
êKenny Garrett
Blue Note 8, 10:30 pm $35• Sorin Zlat Trio with Ashley Pezzotti Blue Note 12:30, 2;30 pm $15• Ron Granger Quartet; Michael Sarian Quartet
		Bronx River Art Center 4:30, 7 pm $10• Grant Stewart Quartet; Miki Yamanaka Quartet
		
Cellar Dog 7, 11:30 pm $10êGerald Cannon Septet with Steve Turre, Eddie Henderson, Joe Lovano, Sherman Irby,
Dave Kikoski, Lenny White
Dizzy’s Club 7:30, 9:30 pm $50• Saul Rubin Quartet; Joe Farnsworth		
The Django 7:30, 10:30 pm• Susan Hodgdon with Jack Bashkow, Sean Conly, Dwayne Cook Broadnax				Don’t Tell Mama 4 pm $10êMike Stern Band
Drom 7 pm $25
êJazz by the Water: Joe Chambers; Frozen Earth with Paul Brown;
Justin Robinson Quartet; Phil Young Jazz Experience		Governors Island 1 pm
• Eve Packer/Daniel Carter
Hudson Park Library 2 pm
• Anaïs Maviel’s Before before & After after
		
JACK 8 pm• Alexis Cuadrado’s Silent Film Scores for Social Justice with Linda Briceño,
Román Filiú, Caroline Davis, Ryan Keberle, Sara Caswell, Yuhan Su, Ed Cherry,
Martha Kato, Shirazette Tinnin
The Jazz Gallery 7:30, 9:30 pm $25-35• Colin Heshmat/Trevor Robertson Knickerbocker Bar & Grill 9 pm $3.50• Donald Vega
Mezzrow 7:30, 9 pm $20• Animal Intelligence with Entertaining Science: CompCord Ensemble with
Jennifer DeVore, Paul Carlon, Gene Pritsker, Geoffrey Burleson, Jay Elfenbein,
Gerry Brown, David Cossin, Adriana Valdés		Michiko Studios 7 pm $30• Christos Rafalides and Manhattan Vibes with Manuel Valera, Lorin Cohen				
Minton’s 7, 9:30 pm $20
êHarish Raghavan solo; Matt Aronoff Quartet with Jason Rigby, Yago Vazquez,
Ross Pederson
The Owl Music Parlor 8 pm $12• Andreas Arnold
Rockwood Music Hall Stage 3 10:30 pm $10êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Hank Bolden/Greg Lewis
Sistas’ Place 9, 10:30 pm $25• John Bailey
Smalls 7:30, 9 pm $20
êCecil McBee Quartet with Phillip Golub, Kai Burns, Mario Fabrizio
		Soapbox Gallery 8 pm $25
êEugene Chadbourne, Jim McHugh, David Menestries, David Licht, Jeb Bishop
		
The Stone at The New School 8:30 pm $20
êMike Rodriguez Quintet with John Ellis, Gary Versace, Carlos Henriquez, Obed Calvaire		
Village Vanguard 8, 10 pm $40

Sunday, June 5êStéphane Wrembel

Barbès 8 pm $20• Will Bernard’s Pond Lige with Trevor Dunn, Ches Smith		
Barbès 10 pm $20• Greg Ruvolo Big Band
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Gil Guttierez Trio
Birdland Theater 7, 9:30 pm $30• Abe Rábade
Blue Note 12:30, 2;30 pm $15êKenny Garrett
Blue Note 8, 10:30 pm $35
êEd Cherry Trio
Cellar Dog 7 pm $10êGerald Cannon Septet with Steve Turre, Eddie Henderson, Joe Lovano, Sherman Irby,
Dave Kikoski, Lenny White
Dizzy’s Club 5, 7:30 pm $45• BronX Banda
Father Gigante Plaza 3:30 pm• Sw!ng Out: Caleb Teicher with Eyal Vilner Big Band		
Joyce Theater 7:30 pm• Welf Dorr, Elias Meister, Zach Swanson, Dalius Naujo
		
The Keep 9 pm
• Kristina Koller
Mezzrow 7:30, 9 pm $20• Louis Fouché Quartet with Luques Curtis, Anwar Marshall		
Minton’s 7, 9:30 pm $20• Teri Roiger Trio with Steve Berger, John Menegon		North Square Lounge 12:30, 2 pm
• Martin Nevin; Timo Vollbrecht The Owl Music Parlor 8 pm $12• Jeremy Danneman and The Down On Me with Anders Nilsson, Joe Exley		Pete’s Candy Store 9:30 pm• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êNoah Baerman, Henry Lugo, Jay Sawyer
		Saint Peter’s Church 5 pm
• Shrine Big Band
Shrine 8 pm
• John Schnieder; Hillel Salem
Smalls 7:30, 9, 10:30 pm $20
êSamara Joy with Chico Pinheiro The Speakeasy at Jaffe Drive 6 pmêMike Rodriguez Quintet with John Ellis, Gary Versace, Carlos Henriquez, Obed Calvaire		
Village Vanguard 8, 10 pm $40
êVictor Goines’ Woodlawn Suite
Woodlawn Cemetery 5 pm

Monday, June 6• Nicole Zuraitis

Birdland 7 pm $30

êDizzy Gillespie Afro-Latin Experience		Blue Note 8, 10:30 pm $35• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Marc Devine, Michi Fuji, Hide TanakaBryant Park 12:30 pm• Steve Kroon Latin Jazz Sextet with Igor Atalita, Ruben Rodriguez, James Shipp,
Craig Rivers, Diego Lopez and guest Ron Blake		Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big BandThe Django 7:30, 10:30 pm• Jeremy Manasia
Mezzrow 7:30, 9 pm $20
êGeorge Coleman
Smalls 7:30, 9 pm $20• Emilio Teubal solo
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

34 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD

Tuesday, June 7• Ben Monder, Gary Wang, Diego Voglino
		Bar Bayeux 8 pm
• Kevin Harris/Fabio Rojas
Bar Lunàtico 8:30, 10 pm $10• Yellowjackets: Russell Ferrante, Bob Mintzer, Dane Alderson, Will Kennedy				Birdland 7, 9:30 pm $40• Gabrielle Stravelli Trio
Birdland Theater 5:30 pm $20• Al Di MeolaBlue Note 8, 10:30 pm $55
êVince Giordano and The Nighthawks

		Bond 45 8 pm $25• Marc Devine, Michi Fuji, Hide TanakaBryant Park 12:30 pm• The Anderson Brothers: Will and Peter Anderson, Jeb Patton, Neal Miner, Chuck Redd		
Dizzy’s Club 7:30, 9:30 pm $35• The Mini Q’s: Luke Carlos O’Reilly, Ben O’Neill, Anwar Marshall; Alexander Claffy		
The Django 7:30, 10:30 pmêThomas Heberer, Tomas Ulrich, Phil Haynes; Max Kutner, Briggan Krauss, Kevin Shea		
Downtown Music Gallery 6:30, 7:30 pmêGerald Clayton
The Jazz Gallery 7:30, 9:30 pm $25-35• Kevin Sun Trio with Walter Stinson, Matt Honor		
Lowlands 8, 9:30 pm• Neil Podgurski
Mezzrow 7:30, 9 pm $20• Isabel Crespo Pardo’s Desbordandome with Lester St. Louis, Henry Fraser				
Roulette 8 pm $25
êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20
êGeorge Coleman
Smalls 7:30, 9 pm $20• Linda May Han Oh’s The Glass Hours with Mark Turner, Fabian Almazan, Sara Serpa,
Obed Calvaire
Village Vanguard 8, 10 pm $40• Sol Liebeskind; Alex Asher
Wild Birds 7, 9 pmêGeoffrey Keezer Trio with Liany Mateo, Savannah Harris		Zinc Bar 7, 8:30 pm $25

Wednesday, June 8êMarc Ribot’s The Jazz-Bins with Greg Lewis, JT Lewis

		
The Atlantic BKLN 9 pm $20• Jerome Sabbagh Trio with Joe Martin, Al Foster		Bar Bayeux 8, 9:30 pmêChris Dingman Trio with Keith Witty, Allan Mednard
		Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30• Yellowjackets: Russell Ferrante, Bob Mintzer, Dane Alderson, Will Kennedy				Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night with John DiMartino, Gary Mazzaroppi, Vince Cherico
and guest Olli Soikkeli
Birdland Theater 8:30 pm $30• Al Di MeolaBlue Note 8, 10:30 pm $55• Marc Devine, Michi Fuji, Hide TanakaBryant Park 12:30 pm• Ehud Asherie Trio
Cellar Dog 7 pm $10• Billy Valentine
Chelsea Table & Stage 7 pm $35
êBrianna Thomas with Conun Pappas, Jr., Marvin Sewell, Ryan Berg, Fernando Saci		
Dizzy’s Club 7:30, 9:30 pm $35• Lady Bri and the Time to Swing Trio with Davis Whitfield, Joe Farnsowrth;
Danny Jonokuchi and The Revisionists with Alexa Barchini, Jay Rattman,
Robert Edwards, Josh Lee, Tim Brey, Brandi Disterheft, Kevin Congleton
		
The Django 7:30, 10:30 pm• HSA A Train Arts Festival: Curtis Stewart		Harlem School of the Arts 6:30 pm $15êGerald Clayton
The Jazz Gallery 7:30, 9:30 pm $25-35• Noah Garabedian Trio with Stacy Dillard, Aaron Seeber		
Lowlands 8 pm
• Hendrik Meurkens
Mezzrow 7:30, 9 pm $20
êLew Tabackin Trio
Michiko Studios 7 pm $20• Judy Marie Canterino Trio with Steve Lamattina, Conal Fowkes
		Pangea 7 pm $25• Phil Young Experience
Pier 84 7 pm
• Kamasi Washington
Prospect Park Bandshell 6 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Jordan Young
Smalls 7:30, 9 pm $20
êBlue Note Jazz Festival: Rakim with guest Ravi Coltrane		Sony Hall 8 pm $40-95• Cecilia Lopez, Brandon Lopez, Zeena Parkins
		The Stone at The New School 8:30 pm $20• Linda May Han Oh’s The Glass Hours with Mark Turner, Fabian Almazan, Sara Serpa,
Obed Calvaire
Village Vanguard 8, 10 pm $40• Wayne Tucker and The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm $20

Thursday, June 9êMarta Sanchez
Bar Bayeux 5:30 pmêAdam Kolker/Jeremy Stratton and guests Jerry Bergonzi, Anthony Pinciotti

		
Bar Bayeux 8, 9:30 pmêItai Kriss and Telavana
Bar Lunàtico 8:30, 10 pm $10• Miss Maybell and The Jazz Age Artistes with Charlie Judkins, Brian Nalepka
		Barbès 8 pm $20• Ronnie Whyte Quintet with Ron Horton, Cecilia Coleman, Boots Maleson, Ray Marchica		Birdland 8:30 pm $30• Yellowjackets: Russell Ferrante, Bob Mintzer, Dane Alderson, Will Kennedy				Birdland 7, 9:30 pm $40• Al Di MeolaBlue Note 8, 10:30 pm $55• Marc Devine, Michi Fuji, Hide TanakaBryant Park 12:30 pm• Brandi Disterheft Quartet
Cellar Dog 7 pm $10• Sam Dillon and Nick Biello’s Push Culture Lab LIC 5 pm
• Artie Shaw Tribute: James Langton New York All Star Big Band with Dan Levinson
		
The Cutting Room 7 pm $25-30
êBrianna Thomas with Conun Pappas, Jr., Marvin Sewell, Ryan Berg, Fernando Saci		
Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet with Jeremy Pelt; Steve Davis Quartet with Abena Koomson-Davis,
Rick Germanson, Nat Reeves, Eric McPherson
		
The Django 7:30, 10:30 pm• Variations: Joan Forsyth, Jai Jeffryes, Taka Kigawa, Eugene McBride, Daniel Palkowski,
David Saperstein, David See, Kathy Supove, Christopher Vassiliades, Christina Kay
		Greenwich House Music School 7 pm $30• HSA A Train Arts Festival: Yolanda Wyns		
Harlem School of the Arts 7:30 pm $15êDave Liebman Trio with Brandon Lopez, Willy Rodriguez and guest Ellery Eskelin
		The Jazz Gallery 7:30, 9:30 pm $25-35
êStéphane Wrembel’s Django New Orleans		
Joe’s Pub 7, 9:30 pm $35-45
êEd CherryMezzrow 7:30, 9 pm $20• Annette St. John
Riverbank State Park 12 pm
êThe Forest: Andrew Drury, Gustavo Aguilar, Leah Bowden, Lesley Mok,
Michael Wimberly and guests Warren Smith, JD Parran		Roulette 8 pm $25• Elsa Nilsson’s Thyme with Santiago Leibson, Marty Kenney, Rodrigo Recabarren				
Scandinavia House 7:30 pm $15êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20
êJean-Michel Pilc Trio with François Moutin, Ari Hoenig		
Smalls 7:30, 9 pm $20• Glass Triangle: Ryan Sawyer, Mette Rasmussen, Zeena Parkins and guest Craig Taborn
		The Stone at The New School 8:30 pm $20• Linda May Han Oh’s The Glass Hours with Mark Turner, Fabian Almazan, Sara Serpa,
Obed Calvaire
Village Vanguard 8, 10 pm $40

Friday, June 10• Arto Lindsay
The Atlantic BKLN 9 pm $20• Peter Watrous
Bar Bayeux 5 pm
• Tomoko Omura, Glenn Zaleski, Pablo Menares, Jay Sawyer

		
Bar Bayeux 8, 9:30 pm• Birdland Big Band
Birdland 5:30 pm $30• Yellowjackets: Russell Ferrante, Bob Mintzer, Dane Alderson, Will Kennedy				Birdland 8:30, 10:30 pm $40• Al Di MeolaBlue Note 8, 10:30 pm $55• Marc Devine, Michi Fuji, Hide TanakaBryant Park 12:30 pm• Richard Clements Quartet; James Austin Quartet
		
Cellar Dog 7, 11:30 pm $10• Dion Parson 21st Century Band with Ron Blake, Melvin Jones, Carlton Holmes,
Reuben Rogers, Victor Provost, Alioune Faye		
Dizzy’s Club 7:30, 9:30 pm $45• Jon Beshay Quartet with Davis Whitfield, Dylan Shamat, Curtis Nowosad;
Charles Turner and Uptown Swing with Christopher McBride, Jeffery Miller,
Sean Mason, Felix Molesohm, Charles Goold		The Django 7:30, 10:30 pm• HSA A Train Arts Festival: Majid Khaliq		Harlem School of the Arts 5 pm $15• JP Schlegelmilch
Ibeam Brooklyn 8:30 pm $15• Gabriel Chakarji Immigrant Tales with Jasper Dutz, Dayna Stephens, Ben Tiberio, 		Eviatar Slivnik, Rubén Rengel
The Jazz Gallery 7:30, 9:30 pm $25-35
êStéphane Wrembel’s Django New Orleans		
Joe’s Pub 10:30 pm $35-45• Hyuna Park
Knickerbocker Bar & Grill 9 pm $3.50
êDavid Hazeltine
Mezzrow 7:30, 9 pm $20
êMarcos Varela Quartet with John Ellis, Dan Tepfer, Kush Abadey
		
Minton’s 7, 9:30 pm $20• We Free Strings: Melanie Dyer, Charles Burnham, Ken Filiano		
Mount Morris Ascension Presbyterian Church 7 pm $20• Stephane San Juan, Eduardo Belo, Vitor Gonçalves		
Nublu 151 7 pm $20• Alex Laurenzi Trio; Ozmosys: Rachel Z/Omar Hakim		Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25
êThe Best of Duke Ellington: Jazz at Lincoln Center Orchestra
		
Rose Theater 8 pm $55-160• Connor Evans Trio
Scholes Street Studio 8 pmêMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20
êJean-Michel Pilc Trio with François Moutin, Ari Hoenig		
Smalls 7:30, 9 pm $20• Brian Willson Quartet
Soapbox Gallery 8 pm $25• Blue Note Jazz Festival: Fabrizio Sotti with guests Ice T, M1
		Sony Hall 8 pm $45-90• Glass Triangle: Ryan Sawyer, Mette Rasmussen, Zeena Parkins and guest
Brandon Lopez
The Stone at The New School 8:30 pm $20
êJohn Zorn’s New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen
		
The Sultan Room 7 pm $40• Linda May Han Oh’s The Glass Hours with Mark Turner, Fabian Almazan, Sara Serpa,
Obed Calvaire
Village Vanguard 8, 10 pm $40

Saturday, June 11êThe Octet with Samara Joy

The Atlantic BKLN 9 pm $15êRuss Lossing/Adam Kolker

Bar Bayeux 6 pm

• Javon Jackson + Nikki Giovanni BAMCafé 9:30 pm• Elsa Nilsson Quartet with Sebastian Noelle, Matt Aronoff, Matt Wilson

		
Bar Bayeux 8, 9:30 pm• Yellowjackets: Russell Ferrante, Bob Mintzer, Dane Alderson, Will Kennedy				Birdland 8:30, 10:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 7, 9:30 pm $30• Clovis Nicolas Freedom Suite with Scott Wendholt, Grant Stewart, Jason Tiemann		Blue Note 12:30, 2;30 pm $15• Al Di MeolaBlue Note 8, 10:30 pm $55• Tejase: Arthur Rotfeld/Ann Casapini; Annette A. Aguilar and Stringbeans				
Bronx River Art Center 4:30, 7 pm $10• Abraham Burton Quartet ; Ai Murakami Quartet
		
Cellar Dog 7, 11:30 pm $10êBlue Note Jazz Festival: Herbie Hancock; Keyon Harrold
		Central Park Summerstage, Rumsey Playfield 7 pm
• Dion Parson 21st Century Band with Ron Blake, Melvin Jones, Carlton Holmes,
Reuben Rogers, Victor Provost, Alioune Faye		
Dizzy’s Club 7:30, 9:30 pm $50• Yotam Silberstein Trio with Brian Charette, Ari Hoenig; Lezlie Harrison with
Ron Jackson, Kyle Koehler, Russell Carter
		The Django 7:30, 10:30 pmêJoel Ross; Cumbia River Band; DJ Rekha; Gentlemen of Soul		
Gantry Plaza State Park 3 pm
• Kelly Green/Luca Soul Rosenfeld Green Soul Studios 6:30 pm• Yoko Yates Quintet
Greenwich House Music School 8 pm $25
êHSA A Train Arts Festival: Adegoke Steve Colson Octet with iqua Colson,
Freddie Hendrix, JD Parran, Marlene Rice, Bryan Carrott, Luke Stewart, Pheeroan akLaff
		Harlem School of the Arts 7 pm $15• Jazz Power Youth Performance Workshop; Eli Yamin and Zah! Jazz Power Singers
		
Hispanic Society Museum and Library 3 pmêWildebeest Wind Quintet: Michel Gentile, Katie Scheele, Mike McGinnis,
Sara Schoenbeck
Ibeam Brooklyn 8, 9:30 pm $20• Gabriel Chakarji Immigrant Tales with Jasper Dutz, Dayna Stephens, Ben Tiberio,
Eviatar Slivnik, Rubén Rengel
The Jazz Gallery 7:30, 9:30 pm $25-35• Pretty for the People with Bruce Harris		Josie Robertson Plaza at Lincoln Center 5 pm
• Mohi Sasaki
Knickerbocker Bar & Grill 9 pm $3.50
êDavid hazeltine
Mezzrow 7:30, 9 pm $20• Hugo Sanbone Pagode Orchestra Minton’s 7, 9:30 pm $20
êIrreversible Entanglements: Moor Mother, Keir Neuringer, Aquiles Navarro,
Luke Stewart, Tcheser Holmes National Sawdust 9 pm $25• Jeremy Danneman and The Down On Me with Anders Nilsson, Joe Exley				Rockwood Music Hall Stage 3 7 pm $10êThe Best of Duke Ellington: Jazz at Lincoln Center Orchestra
		
Rose Theater 8 pm $55-160
êMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Bruce Williams
Smalls 7:30, 9 pm $20
êGlass Triangle: Ryan Sawyer, Mette Rasmussen, Zeena Parkins
		The Stone at The New School 8:30 pm $20• Linda May Han Oh’s The Glass Hours with Mark Turner, Fabian Almazan, Sara Serpa,
Obed Calvaire
Village Vanguard 8, 10 pm $40

Sunday, June 12• Santiago Leibson Quartet with Marty Ehrlich, Matt Pavolka, Satoshi Takeishi
		Bar Lunàtico 8:30, 10 pm $10êStéphane Wrembel
Barbès 8 pm $20• Olli Soikkeli Trio with Paul Sikivie, Dani Danor		
Barbès 10 pm $15• Terraza Big Band
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Jamile and Tony Davis
Birdland Theater 7, 9:30 pm $30• Yumi ItoBlue Note 12:30, 2;30 pm $15• Al Di MeolaBlue Note 8, 10:30 pm $55• Neal Miner Trio

Cellar Dog 7 pm $10êJohn Yao’s Triceratops with Billy Drewes, Mitch Marcus, Robert Sabin, Mark Ferber;

Corina Bartra with Steve Sandberg, Dave Morgan, Noah Garabedian, Perico Diaz,
Pablo Eluchans
Culture Lab LIC 5, 7 pm

• Dion Parson 21st Century Band with Ron Blake, Melvin Jones, Carlton Holmes,

Reuben Rogers, Victor Provost, Alioune Faye		
Dizzy’s Club 5, 7:30 pm $35• William Hooker and guests Ayumi Ishito, Hans Tammen, Francois Minaux				
Funkadelic Studios 1 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko
		
The Keep 9 pm
• Danny Fox
Mezzrow 7:30, 9 pm $20• Leandro Pellegrino Quintet with Peter Slavov, Nick Biello, E.J. Stickland, Vanessa Pera		
Minton’s 7, 9:30 pm $20• Jane Irving Trio with Ron Affif, Kevin Hailey
		North Square Lounge 12:30, 2 pmêDan Weiss Starebaby with Craig Taborn, Matt Mitchell, Ben Monder, Trevor Dunn				
Nublu 151 8 pm $20• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êAndrea Wolper, Michael Howell, Ken Filiano
		Saint Peter’s Church 5 pm
• Moor’d: Rema Hasumi, Jessica Ackerley, Maureen Kelly, Yuko Togami				
Scholes Street Studio 8 pm
• Charles Owens
Smalls 7:30, 9 pm $20• Julieta Eugenio GroupThe Speakeasy at Jaffe Drive 6 pm
• Linda May Han Oh’s The Glass Hours with Mark Turner, Fabian Almazan, Sara Serpa,
Obed Calvaire
Village Vanguard 8, 10 pm $40

Monday, June 13• Boldt: Trevor Dunn, Phillip Greenlief, Michael Vatcher

		Barbès 7 pm $15• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Isaac ben Ayala
Bryant Park 12:30 pm• Trombone Shorty’s Voodoo Threauxdown; Tank and The Bangas; Big Freedia;
Cyril Neville’s The Uptown Ruler; George Porter, Jr.; The Soul Rebels				Central Park Summerstage, Rumsey Playfield 6 pm $65-90• BMI Jazz Composers Big Band led by Andy Farber		Dizzy’s Club 7:30, 9:30 pm $40
êMingus Dynasty
The Django 7:30, 10:30 pm• Ari Hoenig Group
Fifth Hammer 6:30 pm• Neal Miner/Warren Vaché
Mezzrow 7:30, 9 pm $20• Lexiglass: Alexis Marcelo/Will Glass and guest Lee Odom		
Morris Jumel Mansion 6:30 pm
êEd Neumeister
Smalls 7, 9:30 pm $20• Elan Mehler, Michael Blake, Paul Defiglia
		Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Peter Bernstein and Paul Bollenback with Jason Clotter, Joe Farnsworth		Zinc Bar 7, 8:30 pm $25

Tuesday, June 14• Stacy Dillard, Rob Duguay, Diego Voglino

		Bar Bayeux 8 pmêFrank Catalano Quartet
Birdland 7, 9:30 pm $40• Gabrielle Stravelli Trio
Birdland Theater 5:30 pm $20• José James
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Isaac ben Ayala
Bryant Park 12:30 pm• David Nichtern/Matt Oestreicher’s Dharma Moon Orchestra with guests Randy Brecker,
Ada Rovatti, John Miller, Jerry Marot The Cutting Room 7 pm $20-25• Youngjoo Song Quartet with Alan Ferber, Brandon Lee, John Ellis, Mark Ferber				Dizzy’s Club 7:30, 9:30 pm $35• Elio Villafranca Quartet with Vincent Herring, Adam Olszewski, Domo Branch;
Lulada Club: Andrea Chavarro, Katherine Ocampo, Melisa Baena, Julia Chen,
Dawn Drake, Paula Winter, Daniela Serna		The Django 7:30, 10:30 pmêCamilla Nebbia, Jessica Ackerley, Camilo Angeles, Lesley Mok; Juju Lia				
Downtown Music Gallery 6:30, 7:30 pm• Generations XI: Franz Hackl, Alevtina Polyakova, Gottfried Stoger, Scott Hoefling,
Alon Nechushtan, Laurence Goldman, Joe Abba		
Goddard Riverside’s Bernie Wohl Center 7 pm $30• Aaron Seeber Quartet with Kevin Sun, Sullivan Fortner, Ugonna Okegwo, Aaron Seeber		
Lowlands 8, 9:30 pm• Tom Beckham
Mezzrow 7:30, 9 pm $20
êBrandon Seabrook, Cooper-Moore, Gerald Cleaver
		
Public Records 7 pmêMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman
		
SEEDS 8 pm $20
êDan Weiss
Smalls 7:30, 9 pm $20
êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson				
Village Vanguard 8, 10 pm $40• Sol Liebeskind; Alex Asher
Wild Birds 7, 9 pmêPeter Beets Quartet with Eric Alexander, Alex Claffy, Joe Farnsworth		Zinc Bar 7, 8:30 pm $25

Wednesday, June 15êThe Adventures of Prince Achmed: Bill Ware, Sam Bardfeld, Steven Bernstein,

Philip Mayer, John Murchison

The Atlantic BKLN 7:30 pm $20

êJohnathan Blake
Bar Bayeux 8, 9:30 pmêBilly Mohler Quartet with Chris Speed, Shane Endsley, Nate Wood		
Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êFrank Catalano Quartet
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night with John DiMartino, Gary Mazzaroppi, Vince Cherico andguest Ken Peplowski
Birdland Theater 8:30 pm $30• José James
Blue Note 8, 10:30 pm $35• Isaac ben Ayala
Bryant Park 12:30 pm• Tamar Korn Quartet
Cellar Dog 7 pm $10êTed Nash
Chelsea Table & Stage 7 pm $45• Ross Kratter Orchestra
Chelsea Table & Stage 9:30 pm $45• Jazz at Lincoln Center Youth Orchestra; Jazz Houston Youth Orchestra
		
Dizzy’s Club 7:30, 9:30 pm $40• Richard Cortez with Gabe Medd, Noah Halpern, Ruben Fox, Saul Dautch,
Robert Edwards, Evan Main, Alex Tremblay, Eric Hallenbeck
		
The Django 10:30 pmêSummer Klezmer Extravaganza: Frank London’s Klezmer Brass Allstars andJake Shulmen-Ment’s Fidl Kapelye with guests Zhenya Lopatnik, Sarah Gordon,
Margot Leverett, Lorin Sklamberg; Dance Party with Steve Weintraub;
Klezmer Jam Session with Pete Rushefsky, Yoshie Fruchter, David Licht,
Dan Blacksberg, Brian Drye, Aaron Alexander		
Drom 7 pm $25• Bill Frisell/Luke Bergman; Gyan Riley
		
The Greene Space 7:30 pm $20• Mickey Davidson and Friends; Jazz Power Swingtet: Eli Yamin, James Zollar,
Claire Daly, Jason Curry, Michael Blake, Michael Rorby, Jason Clotter, David F. Gibson
		Interchurch Center 7 pm
• Dierk Peters’ Riptide with Walter Stinson, Stephen Boegehold		Lowlands 8 pmêGary Versace
Mezzrow 7:30, 9 pm $20• Jihye Lee
National Sawdust 12:20 pm• Lauren White with Quinn Johnson, Ed Howard, Tim Horner		Pangea 7 pm $25• Ari Hoenig, Gabriel Chakarji, Edward Perez		
Pelham Fritz Recreation Center 5:30 pm• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Danny Mixon
Roy Wilkins Recreation Center 2 pmêMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Patrick Cornelius
Smalls 7:30, 9 pm $20
êJulian Lage/Jason Moran
The Stone at The New School 8:30 pm $20• Julius Rodriguez
The Sultan Room 7 pm $25
êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson				
Village Vanguard 8, 10 pm $40• Wayne Tucker and The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm $20• Black Whole: Scott Tixier, Walter Kemp III, Brent Birckhead, Rishon Odel, Allan Mednard
		
Zürcher Gallery 8 pm $20

Thursday, June 16êMarc Ribot soloêMarta Sanchez

The Atlantic BKLN 7 pm $20
Bar Bayeux 5:30 pm• Adam Kolker/Jeremy Stratton and guest Isaac Wilson

		
Bar Bayeux 8, 9:30 pmêDanilo Pérez and His Global Messengers
		
Birdland 7, 9:30 pm $40• Sandy Stewart/Bill Charlap
Birdland Theater 8:30 pm $30• José James
Blue Note 8, 10:30 pm $35• Isaac ben Ayala
Bryant Park 12:30 pm• Jade Synstelien Quartet
Cellar Dog 7 pm $10• Steven Feifke Big Band
Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet with Jeremy Pelt; Mark Whitfield Quartet with Stacy Dillard,
Barry Stephenson, Evan Sherman The Django 7:30, 10:30 pm• Badi Assad, Vernon Reid, Laraaji The Greene Space 7:30 pm $20• Mutual Mentorship for Musicians (M³): Michele Rosewoman Textured Trio with
Bob Stewart, Liberty Ellman; Maya Keren’s Careful In the Sun;
Lesley Mok’s The Living Collection Greenwich House Music School 6 pm
• MAW: Frank Meadows, Jessica Ackerley, Eli Wallace		Ibeam Brooklyn 7:30 pm $15êOhad Talmor Back to the Land with Joel Ross, Chris Tordini, Eric McPherson
		
The Jazz Gallery 7:30, 9:30 pm $15-25• BJ Khaled
Little Island 12:30 pm• Spike Wilner
Mezzrow 7:30, 9 pm $20
êBilly Mohler, Nate Wood, Chris Speed, Shane Endsley		
Nublu 151 7 pm $20• Ilhan Ersahin, Trevor Dunn, Kenny Wollesen		
Nublu 151 10 pm 12 am $20• Sebastien Ammann’s Color Wheel with Adam Kolker, Sebastien Ammann,
Pablo Menares, Russ Meissner; Richard Sears		The Owl Music Parlor 8 pm $12• Joonas Haavisto Trio with Antti Lötjönen, Joonas Riippa
		Scandinavia House 7:30 pm $15• Infrequent Seams Fest: Joy Guidry/Pauline Kim Harris;
Forever House: Meaghan Burke, James Moore, James Ilgenfritz, Pete Wise;
Forbes Graham solo; Ty Citerman, Jen Baker, Shayna Dunkelman		
Scholes Street Studio 8 pmêMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Scott Neumann; David Gibson Smalls 7:30, 9, 10:30 pm $20
êJulian Lage/Kris Davis
The Stone at The New School 8:30 pm $20
êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson				
Village Vanguard 8, 10 pm $40

Friday, June 17• Peter Watrous
Bar Bayeux 5 pm
• Ember: Caleb Curtis, Noah Garabedian, Vinnie Sperrazza		Bar Bayeux 8, 9:30 pm• Pedro Giraudo Tango Quartet Barbès 8 pm $20• Birdland Big Band
Birdland 5:30 pm $30
êDanilo Pérez and His Global Messengers
		
Birdland 7, 9:30 pm $40• Joey Calderazzo Quartet
Birdland Theater 7, 9:30 pm $30• José James
Blue Note 8, 10:30 pm $35
êHilliard Greene solo
Broadway Presbyterian Church 7:30 pm• Juneteenth Legacy Project
Bronx River Art Center 7 pm $10• Isaac ben Ayala
Bryant Park 12:30 pm• Eric Wheeler Quartet; Carol Morgan Quartet
		
Cellar Dog 7, 11:30 pm $10êBobby Sanabria Multiverse Big Band with Darwin Noguera, Leo Traversa,
Oreste Abrantes, Matthew Gonzalez, Takao Heisho, David Dejesus, Andrew Gould,Peter Brainin, Jeff Lederer, Danny Rivera, Max Darché, Shareef Clayton, Mike Sailors,
Andrew Neesley, Dave Miller, Tim Sessions, Armando Vergara, Chris Washburne,
Gabrielle Garo, Ben Sutin and guests Janis Siegel, Antoinette Montague,
Jennifer Jade Ledesna
Dizzy’s Club 7:30, 9:30 pm $40• Grant Stewart’s The Lighting of the Lamps with Bruce Harris, Tardo Hammer,
Paul Sikivie, Philip Stewart; Vanisha Gould and Lucy Yeghiazaryan with Chris McCarthy,
David Wong, Evan Sherman
The Django 7:30, 10:30 pmêBird Flight—Honoring Phil Schaap and Charlie Parker: Queens Jazz Orchestra led byAntonio Hart
Flushing Town Hall 8 pm $20-45• Mutual Mentorship for Musicians (M³): Jen Shyu’s Zero Grasses; Miriam Elhajli;
Caroline Davis’ Portals
Greenwich House Music School 6 pmêPhillip Greenlief, Angelica Sanchez, Tom Rainey
		Ibeam Brooklyn 7:30 pm $15• Oz Noy Trio with Jimmy Haslip, Dennis Chambers
		
Iridium 8 pm $30
êIllegal Crowns: Taylor Ho Bynum, Benoît Delbecq, Mary Halvorson, Tomas Fujiwara
		
The Jazz Gallery 7:30, 9:30 pm $25-35• Jon Davis
Knickerbocker Bar & Grill 9 pm $3.50• Geoffrey Keezer
Mezzrow 7:30, 9 pm $20• Kristen Lee Sergeant with Ted Nash, Adam Birnbaum, Hannah Marks, TJ Reddick				
Minton’s 7, 9:30 pm $20• Sebastian Rios
Mount Morris Ascension Presbyterian Church 7 pm $20• Marc Mommaas, Kenny Wessel and Jeroen Vierdag		
New York Jazz Workshop 9:15 pm $20• Brian Landrus, Ron Blake, Nir Felder, Davis Whitfield, Lonnie Plaxico, Billy Hart				
Nublu 151 7 pm $20• Birsa Chatterjee; Wen-Ting Wu Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25• Vadim Neselovskyi’s Odesa
Salmagundi Club 7:30 pm $15êInfrequent Seams Fest: Anastasia Clarke solo; JD Parran, Ras Moshe, James Ilgenfritz,
Payton MacDonald, Nava Dunkelman; Bob Kenny/Teerapat Parnmongkol;
Josh Sinton/Jonathan Finlayson; Monika Weiss		
Scholes Street Studio 8 pmêMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20
êHelen Sung
Smalls 7:30, 9 pm $20
êLafayette Harris, Jr./Joseph Webb Soapbox Gallery 8 pm $25• Blue Note Jazz Festival: Chief Adjuah Christian Scott		
Sony Hall 8 pm $35-70
êJulian Lage/Jorge Roeder
The Stone at The New School 8:30 pm $20• Tyrone Birkett’s Emancipation! Symphony Space Leonard Nimoy Thalia 7:30 pm $25
êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson				
Village Vanguard 8, 10 pm $40
êEd Cherry Trio
Williamsbridge Oval 3 pm

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 35

Saturday, June 18
êAaron Goldberg/Adam Kolker• Anwar Marshall

Bar Bayeux 6 pm
Bar Bayeux 8, 9:30 pmêDanilo Pérez and His Global Messengers

		
Birdland 7, 9:30 pm $40• Joey Calderazzo Quartet
Birdland Theater 7, 9:30 pm $30• Small Kingdom with Melanie Scholtz Blue Note 12:30, 2;30 pm $15• José James
Blue Note 8, 10:30 pm $35• Willie Williams Quartet
Bronx River Art Center 7 pm $10• James Burton; Clovis Nicholas Cellar Dog 7, 11:30 pm $10êBobby Sanabria Multiverse Big Band with Darwin Noguera, Leo Traversa,
Oreste Abrantes, Matthew Gonzalez, Takao Heisho, David Dejesus, Andrew Gould,Peter Brainin, Jeff Lederer, Danny Rivera, Max Darché, Shareef Clayton, Mike Sailors,
Andrew Neesley, Dave Miller, Tim Sessions, Armando Vergara, Chris Washburne,
Gabrielle Garo, Ben Sutin and guests Janis Siegel, Antoinette Montague,
Jennifer Jade Ledesna
Dizzy’s Club 7:30, 9:30 pm $45• Dmitry Baevsky Quartet with Jeb Patton, Clovis Nicolas; Craig Handy and 2nd Line Smithwith Matt Chertkoff, Kyle Koehler, Clark Gayton, Jerome Jennings
		The Django 7:30, 10:30 pm• Mutual Mentorship for Musicians (M³): Aden; Fay Victor; Samantha Boshnack;Cleo Reed
Greenwich House Music School 7:15 pm• Max Kutner
Ibeam Brooklyn 8:30 pm $15• Oz Noy Trio with Jimmy Haslip, Dennis Chambers
		
Iridium 8 pm $30• Zacchae’us PaulThe Jazz Gallery 7:30, 9:30 pm $25-35• Jon Davis
Knickerbocker Bar & Grill 9 pm $3.50• Geoffrey Keezer
Mezzrow 7:30, 9 pm $20• Richard Cortez
Minton’s 7, 9:30 pm $20• Alexis Marcelo/Will Glass
Penny Jo’s 8 pm
• Matt Malanowski Trio
Rockwood Music Hall Stage 3 10:30 pm $10• Sam Dillon
Room 623 at B2 Harlem 8 pm $25
êChristian Wolff with Joey Baron, Robyn Schulkowsky, Robert Black		
Roulette 8 pm $35
êStephen Gauci
Scholes Street Studio 8 pmêMiles Okazaki’s Trickster with Matt Mitchell, Anthony Tidd, Sean Rickman				SEEDS 8 pm $20• Mike Ledonne
Smalls 7:30, 9 pm $20• Blue Note Jazz Festival: Chris Botti Sony Hall 10 pm $65-125• Dwayne “Cook” Broadnax
South Oxford Park 2 pmêJulian Lage/Joe Lovano
The Stone at The New School 8:30 pm $20
êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson				
Village Vanguard 8, 10 pm $40• Infrequent Seams Fest: Ben Richter; Muyassar Kurdi solo; Julie Herndon;
Margaret Lancaster/Chris Nappi; Davor Vincze; Jessica Ackerley, James Ilgenfritz,
Eli Wallace; Hypersurface: Drew Wesely, Lester St. Louis, Carlo Costa; Tom Law,
Kevin Cheli, Sandy Ewen; Jen Kutler/Quintan Ana Wikswo
		Willow Place Auditorium 6:30 pm

Sunday, June 19• Tamangoh’s Jazzamazon with Lafayette Harris, Jr., Jennifer Vincent,
Hernan Jay Rodriguez

The Atlantic BKLN 6 pm $20

êStéphane Wrembel
Barbès 8 pm $20
êJazztopad Festival: Kamil Piotrowicz, Tomasz Dabrowski, Tim Berne, Kate Gentile				
Barbès 10 pm $20• New London Big Band
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Joey Calderazzo Quartet
Birdland Theater 7, 9:30 pm $30• Waking Vision: Martin Valihora, John Shannon, Peter Slavov		Blue Note 12:30, 2;30 pm $15• José James
Blue Note 8, 10:30 pm $35• Dan Aran Trio
Cellar Dog 7 pm $10êBobby Sanabria Multiverse Big Band with Darwin Noguera, Leo Traversa,
Oreste Abrantes, Matthew Gonzalez, Takao Heisho, David Dejesus, Andrew Gould,Peter Brainin, Jeff Lederer, Danny Rivera, Max Darché, Shareef Clayton, Mike Sailors,
Andrew Neesley, Dave Miller, Tim Sessions, Armando Vergara, Chris Washburne,
Gabrielle Garo, Ben Sutin and guests Janis Siegel, Antoinette Montague,
Jennifer Jade Ledesna
Dizzy’s Club 7:30, 9:30 pm $35
êBruce Lee Gallanter Birthday Bash Downtown Music Gallery 6 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko
		
The Keep 9 pm
• Billy Mintz
Mezzrow 7:30, 9 pm $20• Greg Osby’s Juneteenth! With Miki Hayama, Richie Goods, Dwayne “Cook” Broadnax		
Minton’s 7, 9:30 pm $20• Alex Leonard Trio with Al Gafa, Jay Leonhart
		North Square Lounge 12:30, 2 pm
• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êMara Rosenbloom/Melanie Dyer Saint Peter’s Church 5 pm
• Bruce Harris
Smalls 7:30, 9 pm $20• Blue Note Jazz Festival: Chris Botti Sony Hall 10 pm $65-125êMark Turner Quartet with Jason Palmer, Joe Martin, Jonathan Pinson
		Village Vanguard 8, 10 pm $40• Sean Mason Quintet
Woodlawn Cemetery 3 pm

Monday, June 20• Jerome Sabbagh Quartet with Ben Monder, Joe Martin, Otis Browne III
		Bar Lunàtico 8:30, 10 pm $10• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Charlie Judkins
Bryant Park 12:30 pm• Connie Han Trio with guest Rich Perry Dizzy’s Club 7:30, 9:30 pm $30

êMingus Orchestra
The Django 7:30, 10:30 pmêAlan Broadbent
Mezzrow 7:30, 9 pm $20
êMax Johnson’s Charm Factory with Anna Elder, Leah Asher, Lauren Cauley, Carrie Frey,

Helen Newby, Sam Newsome, Michaël Attias, Jon Irabagon, Jeff Davis				
Roulette 8 pm $25• Ari Hoenig Trio with Gadi Lehavi, Ben Tiberio		
Smalls 7:30, 9 pm $20• Albert Marques
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, June 21• Mike Flythe

Archie Spigner Park 6 pmêSteve Cardenas, Ugonna Okegwo, Diego Voglino

		Bar Bayeux 8 pm
• Samuel Torres
Bar Lunàtico 8:30, 10 pm $10êStacey Kent
Birdland 7, 9:30 pm $50• Gabrielle Stravelli Trio
Birdland Theater 5:30 pm $20
êDave Holland/Kenny Barron Trio with Johnathan Blake		Blue Note 8, 10:30 pm $45
êVince Giordano & The Nighthawks Bond 45 8 pm $25• Combo Chimbita; Red Baraat! Brooklyn Bowl 7:30 pm $40• Charlie Judkins
Bryant Park 12:30 pmêJazztopad Festival: James Brandon Lewis/Lutosławski Quartet: Szymon Krzeszowiec,
Marcin Markowicz, Artur Rozmysłowicz, Maciej Młodawski; Kamil Piotrowicz Sextet
with Krzysztof Szmańda, Tomasz Dąbrowski, Andrzej Święs, Kuba Więcek, Piotr Chęck
		
Dizzy’s Club 7:30, 9:30 pm $35• Juerga Flamenca: Cristian Puig, Marilia Quevedo, Gary Kelly, Peter Bogdanos;
Gerardo Contino and Los Habaneros with Axel Tosca, John Benítez, Yusnier Sánchez,
Carlos Maldonado
The Django 7:30, 10:30 pm• Chet Doxas solo; Dustin Carlson/Sivan Arbel
		
Downtown Music Gallery 6:30, 7:30 pm• Kevin Sun Trio with Walter Stinson, Matt Honor		
Lowlands 8, 9:30 pm• Yuval Amihai
Mezzrow 7:30, 9 pm $20

êBilly Mintz Quartet with Scott Robinson, Roberta Piket, Don Falzone

		
Ornithology Jazz Club 9 pmêVision Festval: Wadada Leo Smith—Celebrating a Lifetime of Achievement:
Wadada Leo Smith/Pheeroan akLaff; RedKoral Quartet: Shalini Vijayan, Mona Thian,Andrew McIntosh, Ashley Walters; Wadada Leo Smith’s Purple Kikuyu with
Pheeroan akLaff, Erika Dohi, Sylvie Courvoisier and & RedKoral Quartet with
Shalini Vijayan, Mona Tian, Andrew McIntosh, Ashley Walters; Wadada Leo Smith’s
Purple Kikuyu with Pheeroan akLaff, Erika Dohi, Sylvie Courvoisier; Thulani Davis with
Wadada Leo Smith and RedKoral Quartet with Shalini Vijayan, Mona Tian,
Andrew McIntosh - viola, Walters; Wadada Leo Smith/Pheeroan akLaff				
Roulette 7 pm $15-75• Jochen Rueckert
Smalls 7:30, 9 pm $20
êFred Hersch Trio with Drew Gress, Joey Baron		
Village Vanguard 8, 10 pm $40• Sol Liebeskind; Alex Asher
Wild Birds 7, 9 pmêAlan Broadbent Trio with Harvie S, Billy Mintz
		
Zinc Bar 7, 8:30 pm $25

Wednesday, June 22êThe Jazz Passengers

The Atlantic BKLN 7:30 pm $20
The Atlantic BKLN 9 pm $15
Bar Bayeux 8, 9:30 pmêDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland 5:30 pm $30
êStacey Kent
Birdland 7, 9:30 pm $50
êFrank Vignola’s Guitar Night with John DiMartino, Gary Mazzaroppi, Vince Cherico andguest Janis Siegel
Birdland Theater 8:30 pm $30
êDave Holland/Kenny Barron Trio with Johnathan Blake		Blue Note 8, 10:30 pm $45• Charlie Judkins
Bryant Park 12:30 pm• Ehud Asherie Trio
Cellar Dog 7 pm $10êJazztopad Festival: James Brandon Lewis/Lutosławski Quartet: Szymon Krzeszowiec,
Marcin Markowicz, Artur Rozmysłowicz, Maciej Młodawski; Kamil Piotrowicz Sextet
with Krzysztof Szmańda, Tomasz Dąbrowski, Andrzej Święs, Kuba Więcek, Piotr Chęck
		
Dizzy’s Club 7:30, 9:30 pm $35• Champian Fulton Trio with Hide Tanaka, Fukushi Tainaka; Sachal Vasandani with
VictorGould,AlexClaffy,DomoBranch The Django 7:30, 10:30 pm• Florian Herzog’s Splinter with Jeremy Viner, Dierk Peters		
Lowlands 8 pm
• Freddie Bryant
Mezzrow 7:30, 9 pm $20
êEddie Henderson’s Sunburst
Nublu 151 10 pm $20• Jim Ridl Trio
Pangea 7 pm $25• Antoine and Kojo Roney Trio
Pier 84 7 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êVision Festval: Matthew Shipp Quartet with Jason Kao Hwang, Michael Bisio,
Jay Rosen; Staircase in Space: Whit Dickey, Rob Brown, Mat Maneri, Brandon Lopez;
KERNEL: Davalois Fearon/Mike McGinnis; Heart Trio: William Parker, Hamid Drake,
Cooper-Moore; Ned Rothenberg, Sylvie Courvoisier, Hamid Drake		Roulette 7 pm $15-75• Jared Gold
Smalls 7:30, 9 pm $20
êNeal Kirkwood solo
Soapbox Gallery 8 pm $25
êBlue Buddha: Dave Douglas, Louie Belogenis, Bill Laswell, Kate Gentile
		
The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Joey Baron		
Village Vanguard 8, 10 pm $40• Wayne Tucker and The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm $20• Emilio Valdes Trio
• Nikara Warren GroupThursday, June 23êMarta Sanchez

Bar Bayeux 5:30 pm• Adam Kolker/Jeremy Stratton and guest Gary Versace

		
Bar Bayeux 8, 9:30 pmêStacey Kent
Birdland 7, 9:30 pm $50
êAllison Miller/Carmen Staaf’s Nearness with guest Anat Cohen		
Birdland Theater 8:30 pm $30
êDave Holland/Kenny Barron Trio with Johnathan Blake		Blue Note 8, 10:30 pm $45• Charlie Judkins
Bryant Park 12:30 pm• Zaid Nasser Quartet
Cellar Dog 7 pm $10• Yvonnick Prene Quintet
Chelsea Table & Stage 7 pm $35
êThe Cookers: Billy Harper, Donald Harrison, Eddie Henderson, David Weiss, George Cables,
Cecil McBee, Billy Hart
Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet with Jeremy Pelt; Lee Taylor
		
The Django 7:30, 10:30 pm• Jazz Composers’ Showcase Vol. 16: Stephen Harvey, Courtney Wright and
Rafael Piccolotto de Lima with Ben Kono, Ethan Helm, Quinsin Nachoff, Jasper Dutz,
Courtney Wright, Roger Garcia, Jr., Jonathan Challoner, David Adawumi,
Andrew Wagner, Nick Grinder, Nick Vayenas, Evan Amoroso, Jennifer Wharton,
Olli Hirvonen, Martha Kato, Evan Gregor, Jared Schonig
		
The Jazz Gallery 7:30, 9:30 pm $15-25• Behn Gilece
Mezzrow 7:30, 9 pm $20
êAl Foster’s Three of a Mind
Nublu 151 8 pm $20• JP Schlegelmilch, Adam Schneit, Max Goldman, Kenny Warren, Myk Freedman,
Andrew Dow; Danny Fox Triowith Chris van Voort van Beest, Max Goldman
		
The Owl Music Parlor 8 pm $12êVision Festval: Yoshiko Chuma and The School of Hard knocks with Miriam Parker,
Emily Mare Pope, Jason Kao Hwang, Steve Swell, Aliya Ultan;
C’est Trois: Jaimie Branch, Luke Stewart, Tcheser Holmes;
Unnameable Element: Leo Chang, Chris Williams, Lester St. Louis, Miriam Parker;
Red Lily Quartet: James Brandon Lewis, Kurt Knuffke, William Parker, Chad Taylor;
Nicole Mitchell’s Dreams of Awakening with Joshua White, Ken Filiano,
Terri Lyne Carrington, Val Jeanty Roulette 6:30 pm $15-75• Sunna Gunnlaugs Trio with Tag Jonsson, Scott McLemore		
Scandinavia House 7:30 pm $15• Rodney Chapman’s Gnosis
Shrine 10 pm• David Smith
Smalls 7:30, 9 pm $20• Markus Rutz Trio
Soapbox Gallery 8 pm $25• Jazztopad Festival: Kamil Piotrowicz Sextet with Krzysztof Szmańda,Tomasz Dąbrowski, Andrzej Święs, Kuba Więcek, Piotr Chęck
		
Soup & Sound 8 pm $20• Blue Note Jazz Festival: Con Tumbao with Issac Delgado, Alain Perez, Oscar Hernandez,
Pedrito Martinez, Tony Succar, Robby Ameen, Conrad Herwig, Juan Munguia,
Mike Rodriguez, Bobby Franceschini Sony Hall 9 pm $45-80êLouie Belogenis, Roberta Piket, Rubin Kodheli, Billy Mintz
		The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Joey Baron		
Village Vanguard 8, 10 pm $40

Friday, June 24êOrrin Evans’ Terreno Comum with Alexia Bomtempo, Luques Curtis, Clarence Penn,

Leandro Pellegrino

The Atlantic BKLN 8 pm $25• Peter Watrous
Bar Bayeux 5 pmêGeorge Garzone and The Fringe Bar Bayeux 8, 9:30 pm• Kalí Rodríguez-Peña’s Mélange Bar Lunàtico 8:30, 10 pm $10• Birdland Big Band
Birdland 5:30 pm $30

êStacey Kent
Birdland 8:30, 10:30 pm $50
êAllison Miller/Carmen Staaf’s Nearness with guest Michelle Dorrance				
Birdland Theater 8:30 pm $30
êDave Holland/Kenny Barron Trio with Johnathan Blake		Blue Note 8, 10:30 pm $45• Charlie Judkins
Bryant Park 12:30 pm• Greg Glassman; Courtney Wright Cellar Dog 7, 11:30 pm $10• Aggeliki with Dayramir Gonzalez, Dennis Pol, Dean Torrey, Jared Schoenig and guests
		Chelsea Table & Stage 7 pm $35
êThe Cookers: Billy Harper, Donald Harrison, Eddie Henderson, David Weiss, George Cables,
Cecil McBee, Billy Hart
Dizzy’s Club 7:30, 9:30 pm $40

36 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD• Liam Sutcliffe Quartet; Jenn Jade 5tet The Django 7:30, 10:30 pm• Dead Composers Club: Noah Preminger, Gary Versace, Kim Cass, Rob Garcia
		Ibeam Brooklyn 8, 9:30 pm $20• Micah Thomas Trio with Kanoa Mendenhall, Eric McPherson
		
The Jazz Gallery 7:30, 9:30 pm $25-35• Sterling Cozza/Mikey Migliore Knickerbocker Bar & Grill 9 pm $3.50
ê Jonny Kiing
Mezzrow 7:30, 9 pm $20• Richard Baskin
Minton’s 7, 9:30 pm $20• Rod Williams
Mount Morris Ascension Presbyterian Church 7 pm $20
êJames Francies, Joel Ross, Blaque Dynamite		Nublu 151 10 pm $20
êJazztopad Festival: Uri Caine and Lutosławski Quartet; Kamil Piotrowicz Quartet withguest Jamie BaumThe Owl Music Parlor 8 pm $20• Jordyn Davis; Duane Eubanks Room 623 at B2 Harlem 7, 8:30, 10 pm $18-25
êVision Festval: Isaiah Collier’s Chosen Few with Jordan Williams, Luke Stewart,
Tcheser Holmes; SPARKS: Eri Yamamoto, William Parker, Chad Fowler, Steve Hirsh;
Ahmed Abdullah and Francisco Mora Catlett’s Diaspora Meets AfroHORN with
Monique Ngozi Nri, Sam Newsome, Don Chapman, Bob Stewart, James Hurt,
Radu ben Judah, Roman Diaz; Angelica Sanchez, Michael Formanek, Hamid Drake;
Fay Victor’s SoundNoiseFUNK with Sam Newsome, Joe Morris, Reggie Nicholson andguest Eddy Kwon
Roulette 6:30 pm $15-75• Dmitry Baevsky
Smalls 7:30, 9 pm $20• Lizzie Thomas Trio with John DiMartino, Noriko Ueda
		
Soapbox Gallery 8 pm $25
êIkue Mori, Louie Belogenis, Sylvie Courvoisier		
The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Joey Baron		
Village Vanguard 8, 10 pm $40

Saturday, June 25êOrrin Evans’ Terreno Comum with Alexia Bomtempo, Luques Curtis, Clarence Penn,

Leandro Pellegrino

The Atlantic BKLN 8 pm $25• Sebastien Ammann/Adam Kolker Bar Bayeux 6 pm
• Rogério Boccato Trio with Vinicius Gomes, Julian Shore		
Bar Bayeux 8, 9:30 pm• Miles Tucker
Bar Lunàtico 8:30, 10 pm $10êStéphane Wrembel
Barbès 8 pm $20
êJazztopad Festival: Michael Bates’s Acrobat with Marty Ehrlich, Mazz Swift,

Alden Banta, Michael Sarin with guests The Lutosławski Quartet: Szymon Krzeszowiec,
Marcin Markowicz, Artur Rozmyslowicz, Maciej Mlodawski
		Barbès 8 pm $20
êStacey Kent
Birdland 8:30, 10:30 pm $50
êAllison Miller/Carmen Staaf’s Nearness with guest Dayna Stephens		Birdland Theater 7, 9:30 pm $30• Jan SmigmatorBlue Note 12:30, 2;30 pm $15êDave Holland/Kenny Barron Trio with Johnathan Blake		Blue Note 8, 10:30 pm $45
êGabriel Chakarji Quintet; Papo Vázquez Octet		
Bronx River Art Center 4:30, 7 pm $10êWayne Escoffery; Stefano Doglioni Cellar Dog 7, 11:30 pm $10êThe Cookers: Billy Harper, Donald Harrison, Eddie Henderson, David Weiss, George Cables,
Cecil McBee, Billy Hart
Dizzy’s Club 7:30, 9:30 pm $45• Joe Magnarelli Quintet with Robert Edwards, Anthony Wonsey, Clovis Nicolas,
Willie Jones; Nick Hempton Quartet with Peter Bernstein, Kyle Koehler,
Fukushi Tainaka
The Django 7:30, 10:30 pm• Kelly Green/Luca Soul Rosenfeld Green Soul Studios 6:30 pm• VEER Quartet: Sarah Bernstein, Sana Nagano, Leonor Falcón, Nick Jozwiak
		Greenwich House Music School 4 pm $10-20• Steven Oquendo Latin Jazz Orchestra; Jason Clotter Quintet
		
Hispanic Society Museum and Library 3 pmêStephan Crump solo
Ibeam Brooklyn 8 pm $15êJonathan Finlayson Trio with Anthony Tidd, Tim Angulo
		
The Jazz Gallery 7:30, 9:30 pm $25-35• Jonathan Scales Fourchestra Joe’s Pub 9:30 pm $15• Tommaso Perazzo/Mikey Migliore Knickerbocker Bar & Grill 9 pm $3.50
êJonny King
Mezzrow 7:30, 9 pm $20
êIconoclast: Julie Joslyn/Leo Ciesa Michiko Studios 7 pm $20• Lee Burgos with Henry Burgos, Leroy Thompson, Devone Allison, Mario Castro		
		
Minton’s 7, 9:30 pm $20
êBernard “Pretty” Purdie Allstars with Ray Anderson, Kirk Knuffke, Adam Lane				
Nublu 151 7 pm $20
êCraig Harris’ Breathe
Rockefeller Park 4 pmêVision Festval: Jason Kao Hwang Myths of Origin for 30 Strings; Knife & Rose:
Patricia Nicholson, Ellen Christi, Jean Carla Rodea, Francisco Mela;
Watershed: Steve Swell, Karen Borca, Rob Brown, Melanie Dyer, Bob Stewart,
Michael Thompson and guest Dave Burrell; Monique Ngozi Nri/Ahmed Abdullah;
Natural information Society: Joshua Abrams, Lisa Alvarado, Jason Stein,
Mikel Patrick Avery and guests William Parker, Hamid Drake		Roulette 5 pm $15-75• Xavier del Castillo
Scholes Street Studio 8:30 pm• Dmitry Baevsky
Smalls 7:30, 9 pm $20
êBen Allison Quartet with Chico Pinheiro, Steve Cardenas, Allan Mednard
		Soapbox Gallery 8 pm $25
êTwice Told Tales: Louie Belogenis, Trevor Dunn, Ryan Sawyer
		The Stone at The New School 8:30 pm $20
êFred Hersch Trio with Drew Gress, Joey Baron		
Village Vanguard 8, 10 pm $40• Tony Middleton 88th Birthday Celebration with Tadataka Unno, Jim Cammack,
Dwayne “Cook” Broadnax
Zinc Bar 7:30 pm $30• Ron Aprea Big Band

Sunday, June 26
Birdland 5:30 pm $30

êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êAllison Miller/Carmen Staaf’s Nearness		Birdland Theater 7, 9:30 pm $30• Joonas Haavisto Trio
Blue Note 12:30, 2;30 pm $15êDave Holland/Kenny Barron Trio with Johnathan Blake		Blue Note 8, 10:30 pm $45• Ned Goold Trio
Cellar Dog 7 pm $10êCarmen Staaf solo
Chelsea Factory 2 pmêVision Festval: Oliver Lake—Celebrating a Lifetime of Achievement: MiM Student Ensemble
led by William Parker, Michael TA Thompson, Daro Behroozi; JD Parran Spirit Stage 2
with Gwendolyn Laster, Kelvyn Bell, Bill Lowe, Hilliard Greene, Gene Lake,
Patricia Nicholson, Jason Jordan, Miriam Parker, Davalois Fearon, Amir Bey;
Oliver Lake and Sonic Liberation Front with Elliot Levin, Veronica Jurkiewicz,
Matt Engle, Kevin Diehl, Jameka Gordon, Chaela Harris, Ravi Seenerine, Shanon Chua;
Oliver Lake, Andrew Cyrille, Reggie Workman; World Saxophone Quartet:
David Murray, James Carter, Greg Osby, Bruce Williams
		
Clemente Soto Velez Cultural Center 4 pm $15-75• Noah Rott
Culture Lab LIC 5 pm
• Rodney Whitaker Sextet
Dizzy’s Club 7:30, 9:30 pm $35• Welf Dorr, Elias Meister, Dmitry Ishenko
		
The Keep 9 pm
• Lauren Henderson
Mezzrow 7:30, 9 pm $20• Jazz Pride Singer Showdown Ball Minton’s 7, 9:30 pm $20• Naama Gheber Trio with Greg Ruggiero, Dave Baron		
North Square Lounge 12:30, 2 pm
• Spaceman Patterson
Roberto Clemente State Park 1 pm
• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15• Andrea Wolper, Virg Dzurinko, Judith Insell
		Saint Peter’s Church 5 pm
• Chris Byars
Smalls 7:30, 9 pm $20
êBlue Note Jazz Festival: Charles Lloyd Chapel Trio with Bill Frisell; Thomas Morgan;
Charles Lloyd New Quartet with Jason Moran, Reuben Rogers, Eric Harland and guests
Bill Frisell, Thomas Morgan
Sony Hall 7:30 pm $49.50-99.50
êFred Hersch Trio with Drew Gress, Joey Baron		
Village Vanguard 8, 10 pm $40

100 MILES OUT
CONNECTICUT
6/9 (6:30 pm) Greenwich Jazz Festival: Bennie Wallace; Samara Joy;
Emmet Cohen; Peter Washington; Herlin Riley
Back Country Jazz Greenwich, CT www.backcountryjazz.org
6/1, 6/15 (6:30 pm) Corinthian Dixieland Jazz Band
6/3, 6/10, 6/17, 6/24 (7 pm) Bill’s All-Star Jazz Band
Bill’s Seafood Westbrook, CT www.billsseafood.com
6/9 (8 pm) Dwonztet: Matt Dwonszyk, Shenel Johns, Kris Allen, Andrew Renfroe,
Taber Gable, Jonathan Barber
6/21 (6:30 pm) Ed Fast and Congabop
Butler-McCook House Hartford, CT
www.ctlandmarks.org/properties/butler-mccook-house-garden
6/10 (8 pm) Dwonztet: Matt Dwonszyk, Shenel Johns, Kris Allen, Andrew Renfroe,
Taber Gable, Jonathan Barber
Buttonwood Tree Performing Arts Center Middletown, CT www.buttonwood.org

6/8 (7 pm) Warren Vaché Quartet with Earl Sauls, Vinnie Corrao, Eddie Monteiro
6/9 (7 pm) Alex Laurenzi
6/10 (7/9:15 pm) Grover Kemble/Jerry Vezza Quartet with Hal Slapin, John Vourtsis
6/16 (7 pm) Adrian Cunningham Trio
6/17 (7 pm) Victor Provost/Dion Parson Group
6/23 (7 pm) Olli Soikkeli Trio with Paul Sikivie, Joe Peri
6/24 (7/9:15 pm) Dave Stryker Trio
Shanghai Jazz Madison, NJ www.shanghaijazz.com
6/11 (8 pm) Bria Skonberg Quartet
South Orange Performing Arts Center South Orange, NJ www.sopacnow.org
6/5 (11 am) Jerry Weldon Duo
6/12 (11 am) Dave Stryker Duo
6/19 (11 am) Charlie Sigler Duo
6/26 (11 am) Alex Collins Duo
Stage House Tavern Somerset, NJ
www.stagehousetavern.com/somerset/index.html

6/2 (7/8:45 pm) Virginia Mayhew Quartet
6/7 (7/8:45 pm) Ariana Sowa Quartet
6/9 (7/8:45 pm) Nat Adderley, Jr. Quartet
6/14 (7/8:45 pm) CJ Margolis Quartet
6/3 (8:30 pm) Ben Wolfe Trio with Joel Ross, Aaron Kimmel
6/16 (7/8:45 pm) Behn Gillece Quartet
6/10 (8:30 pm) Jessica Pavone String Ensemble with Aimee Niemann, Abby Swidler 6/21 (7/8:45 pm) Frankie Midnight Quartet
Firehouse 12 New Haven, CT www.firehouse12.com
6/23 (7/8:45 pm) Ryan Devlin Quartet
6/28 (7/8:45 pm) John Pachnos Quartet
6/24 (8 pm) Oz Noy Trio with Jimmy Haslip, Dennis Chambers
6/30 (7/8:45 pm) Akiko Tsuruga Quartet
Infinity Hall Hartford, CT www.infinityhall.com
Tavern on George New Brunswick, NJ www.tavernongeorge.com
6/24 (8:30 pm) Bob Ahern Trio with Dawn Dumas
Carmine’s Stage Bar and Grill East Hartford, CT www.carmines389.com

6/2 (7 pm) Phil LoPresti Jazz Quartet with Bill Crow, Roger Post, Joe McWilliams
6/8 (7 pm) Jeff McGill Quartet with Lou Pappas, Tom Devino, Kris Jensen
6/16 (7 pm) Tim DeHuff Quartet with Rob Aries, Dave Anderson, Tyger MacNeal
6/22 (7 pm) Arthur Lipner Trio
La Zingara Bethel, CT www.lazingara.com
6/1, 6/8, 6/15, 6/22, 6/29 (9 pm) Hawkins Jazz Collective
Owl Shop New Haven, CT www.owlshopcigars.com

6/3 (8 pm) Robert Glasper
6/4 (8 pm) Madeleine Peyroux
6/10 (8 pm) Mike Stern Band with Randy Brecker, Leni Stern,
Edmond Gilmore, Dennis Chambers
6/12 (7 pm) Yellowjackets
The Vogel at Count Basie Center for the Arts Red Bank, NJ www.thebasie.org
NEW YORK

6/17 (8 pm) Yellowjackets
Palace Theater Stamford, CT www.palacestamford.org

6/11, 6/25 (7:30 pm) Leslie Pintchik Trio
Alvin & Friends New Rochelle, NY www.alvinandfriendsrestaurant.com

6/3 (7/9 pm) Christos Rafalides’ Manhattan Vibes
Palace Theater Poli Club Waterbury, CT www.palacetheaterct.org/shows/jazz

6/2 (7 pm) Deanna Kirk with Peter Einhorn, John Menegon, Matt Garrity
6/5 (12 pm) Joel Harrison Trio with Gary Kelly, Aaron Johnson
6/19 (11 am) Christine & Elliot Spero; (8pm) Brubeck Brothers
6/26 (11 am) Karl Berger/Kirk Knuffke Quartet
Bearsville Theater Woodstock, NY www.bearsvilletheater.com

6/2 (8:30 pm) Jon Cleary
6/3 (8:30 pm) Curtis Brothers CUBOP!
6/4 (8:30 pm) Kristina Koller Quartet
6/10 (8:30 pm) Steve Davis Quintet with Abena Koomson-Davis, Rick Germanson,
Nat Reeves, Jonathan Barber
6/11 (8:30 pm) Olli Soikkeli Trio with Alberto Pibiri, Ethan O’Reilly
6/16 (8:30 pm) Sean Mason Quintet with Felix Moseholm, Domo Branch,
Tony Glausi, Chris Lewis
6/17 (8:30 pm) Kind Folk: John Raymond, Alex LoRe, Noam Wiesenberg,
Colin Stranahan
6/18 (8:30 pm) Ted Rosenthal Trio with Noriko Ueda, Tim Horner
6/24 (8:30 pm) Kevin Hays Trio
6/25 (8:30 pm) Timothy Norton Quintet with Jerome Sabbagh,
Victor Gould, Adam Arruda
Side Door Old Lyme, CT www.oldlymeinn.com/TheSideDoorJazzClub.html

6/5 (2 pm) Slide Attack with Howard Levy, Alan Goidel
6/12 (2 pm) Judi Silvano
6/19 (2 pm) Joe Vincent Tranchina
6/26 (2 pm) Supercluster with Neil Alexander
The Brewery at Orange County Hops Walden, NY www.orangecountyhops.com
6/19 (4 pm) “Celebrate Juneteenth” featuring Abiah
Caramoor Jazz Katonah, NY www.caramoor.org

6/9 (6:30 pm) Joe Carter Samba Trio with Harvie S, Graciliano ZamboninSouthbury Public Library Southbury, CT www.southburylibrary.org

6/2 (7 pm) Steve Frieder Quartet with Kelly Green, Luca Rosenfeldon, Evan Hyde
6/4 (7:30 pm) Slide Attack with Alan Goidel, Howard Levy
6/9 (7 pm) Paul Connors Organ Groove with Jon Doty, Dave Kain
6/16, 6/23, 6/30 (7 pm) Paul Connors Organ Groove with Jesse Lewis
6/18 (7 pm) Steve Shapiro Combo with Aaron Heick, Tim Ferguson, Bill Dobrow
Elk’s Lodge Ossining, NY www.jazzatthelodge.com

6/6, 6/20 (6:30 pm) Nat Reeves
The Local - Parkville Market Hartford, CT www.parkvillemarket.com/vendor/the-local

6/10 (8 pm) Bria Skonberg Quartet
Emelin Theatre Mamaroneck, NY www.emelin.org

NEW JERSEY
6/3 (7:30 pm) Greg Bufford Band
6/10 (7:30 pm) Willie Martinez Quartet
6/17 (7:30 pm) Steve Turre Quartet
6/24 (7:30 pm) TK Blue and Band Bluu
Brothers Smokehouse Ramsey, NJ www.brotherssmokehousenj.com
6/4 (3:30 pm) Carl Barlett, Jr.
6/11 (3:30 pm) Farid Barron
6/18 (3:30 pm) Akiko Tsuruga
6/25 (3:30 pm) Joe Ford
Candlelight Lounge Trenton, NJ www.candlelighteventsjazz.com
6/16 (7:30 pm) Jazz Jams hosted by James Austin
Clement’s Place Newark, NJ www.njpac.org
6/23 (7:30 pm) Calvin Hill Group
6/30 (7:30 pm) Darryl Yokley Band
Englewood Public Library Englewood, NJ www.englewoodlibrary.org
6/12 (2 pm) Tri-State Jazz Society presents Midiri Brothers with Joe Holt
Haddonfield United Methodist Church Haddonfield, NJ www.tristatejazz.org

6/2 (7 pm) David Amram Quartet
6/4 (7 pm) Ed Palermo Big Band
6/5 (7 pm) Allan Harris
6/12 (7 pm) Jean-Michel Pilc, François Moutin, Ari Hoenig
6/15 (7 pm) Levin Brothers: Pete and Tony Levin
6/16 (7 pm) Oz Noy Trio with Jimmy Haslip, Dennis Chambers
6/19 (7 pm) Eric and Houston Person
6/26 (7 pm) Ben Allison Quartet with Steve Cardenas, Chico Pinheiro, Allan Mednard
The Falcon Marlboro, NY www.liveatthefalcon.com
6/3 (7:30 pm) Nicole Henry
Forestburgh Playhouse Forestburgh, NY www.fbplayhouse.org
6/12 (7 pm) Sean Mason
Hamptons JazzFest @Southampton Arts Center Southampton, NY
www.hamptonsjazzfest.com
6/3 (7/9:30 pm) Bill Charlap Trio with Peter Washington, Kenny Washington
6/4-6/5 (4/6 pm) Delbert Anderson Trio
6/10 (7/9:30 pm) John Pizzarelli Trio Jazz
6/11-6/12 (4/6 pm) Amina Figarova Quartet with Bart Platteau, Freddie Hendrix,
Yasushi Nakamura, Rudy Royston
6/17-6/18 (7/9:30 pm) Monty Alexander Trio
6/19 (4/6 pm) Steve Davis Quintet with Abena Koomson-Davis, Rick Germanson,
Nat Reeves, Jonathan Barber
6/24-6/25 (7/9:30 pm) Michael Camilo solo
6/26 (4/6 pm) Tony Jefferson
Jazz Forum Arts Tarrytown, NY www.jazzforumarts.org

6/4 (12-6 pm) Nation Beat; Lezlie Harrison; David Kikoski Trio;
Winard Harper & Jeli Posse; Andreas Arnold Quintet;
Santi Debriano’s Arkestra Bembe with TK Blue; Little Johnny Rivero
6/5 (12-8 pm) Sounds of A&R; Walter Parks & The Unlawful Assembly;
Gonzalo Bergara, Aurora Nealand and The Royal Roses; Julian Lage;
Johnny Rodriguez and The Dream Team
6/1 (1 pm) Tom Manuel and Young at Heart Trio Harry Warren TributeJersey City Jazz Festival Jersey City, NJ
6/2-6/3 (7 pm) Jazz Loft Big Band performs Duke Ellington’s Far East Suitewww.riverviewjazz.org/jersey-city-jazz-festival
6/4 (7 pm) Noah Preminger Quartet with Mark Light, Kim Cass, Dan Weiss
6/16 (7 pm) Big Little Band with Madeline Kole, Richie Iacona
6/3 (8 pm) Victor Wooten
6/17 (7 pm) Hyeson Hong Jazz Orchestra
Kean Stage Enlow Recital Hall Union, NJ www.keanstage.com
6/18 (7 pm) Havana Night with Manuel Tomas Cuban Troubadors
6/23 (7 pm) Interplay Jazz Orchestra with Joe Devassy, Gary Henderson
6/1 (7 pm) Danny Tobias Trio
The Jazz Loft Stony Brook, NY www.thejazzloft.org
6/2 (7 pm) Meant To Be Quartet: Glen Merritt, Alan Hayes, Pete Omelio, John Higgins
6/3 (7/9:10 pm) Bernard “Pretty” Purdie
6/23 (7 pm) Timothy Hill/Michael Bisio
6/4 (7 pm) Eric Olsen Revision Trio
The Lace Mill Kingston, NY www.facebook.com/TheLaceMill

6/4 (8 pm) Ben Sher Trio
6/11 (7 pm) Ron Horton/Tim Regusis Quartet with Lew Scott, Jeff Siegel
6/18 (7 pm) Tom DePetris Quartet
Lydia’s Café Stone Ridge, NY www.lydias-cafe.com
6/3 (8 pm) Paul Jost Quartet
6/4 (8 pm) Ray Levier
6/4, 6/24 (10 pm) David Budman
6/10 (8 pm) Neal Caine Quartet with Jerry Weldon
6/12 (1 pm) David Budway & Friends
6/17 (8/9:30 pm) Dwayne Dolphin/Don Aliquo Quintet with Duane Eubanks,David Budway, George Heid III
6/25 (8/9:30 pm) Bill Heid Trio with Peter Bernstein
Maureen’s Jazz Cellar Nyack, NY www.maureensjazzcellar.com
6/6 (8:30 pm) Paul Kogut Trio with Drew Gress
6/13 (8:30 pm) Sonic 0penings Under Pressure: Patrick Brennan, Hilliard Greene,
Michael T.A. Thompson
6/20 (8:30 pm) Richard Bonnet with Michaël Attias, Sylvain Darrifourcq
6/27 (8:30 pm) Eric Person’s Duoscope with Bob Meyer
Quinn’s Beacon, NY www.facebook.com/QuinnsBeacon
6/3 (7 pm) Thurman Barker Trio
6/4, 6/11, 6/18, 6/25 (3 pm) Hal Galper Trio
Rafter’s Tavern Callicoon, NY www.rafterstavern.com
6/3 (7 pm) Orange County Arts Council presents Judi Silvano
Safe Harbors Green Newburgh, NY www.safe-harbors.org
6/5 (7 pm) Amirtha Kidambi/Matteo Liberatore
Tubby’s Kingston, NY www.tubbyskingston.com
6/6, 6/13, 6/20, 6/27 (8 pm) Monday Jazz Sessions with John Richmond
6/16 (7:30 pm) Pete Levin, Tony Levin, Ali Ryerson, Jeff Siegel
Turning Point Café Piermont, NY www.piermont.club
6/11 (7 pm) Beyond Jazz Junior with Steve Rubin, J Brunka, Ed Littman, Ian Smitt
Up Front Exhibition Space Port Jervis, NY
www.artistsmarketcc.com/UpfrontGallery.html
6/4 (6 pm) Tony Jefferson Quartet
6/11 (6 pm) TK Blue Trio with Akiko Tsuruga, Orion Turre
6/18 (6 pm) Nelson Riveros “Latin Side of Wes Montgomery” with
Hector Martignon, Andy McKee, Tony Cintron
Bean Runner Café Peekskill, NY www.beanrunnercafe.com
PENNSYLVANIA
6/2 (8/9:30 pm) Oliver Mayman Quartet
6/3 (8/10 pm) Alexander Claffy Trio with Taylor Eigsti, Jimmy Macbride
6/4 (8/10 pm) Matthew Rotker Lynn Quintet with Jon Davis, Alexander Claffy,
Anwar Marshall, Ariana Stefanidis
6/9 (8/9:30 pm) Tony Miceli/Chris Farr Quartet
6/10 (8/10 pm) Orrin Evans Captain Black Big Band
6/11 (8/10 pm) Lucy Yeghiazaryan Quintet with Houston Person
6/17 (8/10 pm) Joe Block Quintet with Shabnam Abedi, Abdias Armenteros,
Kimon Karoutzos, Anwar Marshall
6/18 (8/10 pm) Ken Fowser & His New York Showcase with Anaïs Reno
6/24-6/25 (8/10 pm) Ari Hoenig Trio with Gadi Lehavi, Ben Tiberio
Chris’ Jazz Café Philadephia, PA www.chrisjazzcafe.com
6/11 (7:30 pm) Ruth Naomi Floyd with Craig Handy
6/22 (7:30 pm) Carol Riddick with Gerald VeasleyClef Club Philadephia, PA www.clefclubofjazz.org
6/2, 6/9, 6/16, 6/23, 6/30 (7 pm) Bill Washer & Friends
6/3 (7 pm) Eric Mintel Quartet with Nelson Hill, Dave Antonow, Dave Mohn
6/4 (7 pm) Marianne Solivan Trio
6/5 (5 pm) Stephen Fuller Quintet with Dave Braham, Alex Gressel,
Vern Mobley, Oloye Karade
6/10 (7 pm) Jerry Vivino Quartet
6/11 (7 pm) Lynette Washington with Amina Figarova, Tony Marino, Bill Goodwin
6/12 (5 pm) Nancy Reed Quartet with Joe Ballantyne, Tony Marino, Dan Wilkins
6/17 (7 pm) Hell’s Kitchen Funk Orchestra with Bill Warfield, Matt Owens,
Matt Hong, Dave Riekenberg, Carl Maraghi, Cecilia Coleman,Matt Chertkoff, Steve Count, Scott Neumann
6/18 (7 pm) Harry Allen Trio with John DiMartino, Vince Dupont
6/19 (5 pm) Cathy Segal-Garcia with Marc Copland, Drew Gress,
Michael Stephans
6/24 (7 pm) Michéle Bautier
6/25 (7 pm) Ken Peplowski Quartet
6/26 (5 pm) Corinne Mammana Quartet with Patrick Kerssen, Gene Perla,
Adam Nussbaum
6/27 (7:30 pm) Water Gap Jazz Orchestra with Matt VashlishanDeer Head Inn Delaware Water Gap, PA www.deerheadinn.com
6/7-6/12 (7:30 pm) Freestyle Love Supreme
6/12 (7 pm) Bria Skonberg
Kimmel Center @MillerTheater Philadelphia, PA www.kimmelculturalcampus.org
6/6, 6/13, 6/20, 6/27 (5:30-9:30 pm) Tony Williams Jazz Quartet
La Rose Jazz Club Philadelphia, PA www.jazzclublarose.com
6/2 (7/9 pm) Lawrence “Weas” Newton
6/3-6/4 (7/9 pm) ELEW
6/11-6/12 (7/9 pm) The Cookers: Billy Harper, Eddie Henderson, David Weiss,
Donald Harrison, George Cables, Cecil McBee, Billy Hart
6/17-6/18 (7/9 pm) Arpeggio Jazz Ensemble: Sherry Wilson Butler & Warren Cooper
6/19 (2:30,5,7 pm) Arpeggio Jazz Ensemble: Sherry Wilson Butler & Warren Cooper
South Jazz Club Philadelphia, PA www.southjazzkitchen.com
6/15 (8 pm) Phillip Greenlief/Trevor Dunn/Michael Vatcher Trio + Oarsman
The Rotunda Philadelphia, PA www.firemuseumpresents.com
6/3 (8 pm) Joshua Abrams Natural Information Society
6/4 (8 pm) Sun Ra Arkestra
Union Transfer Philadelphia, PA www.utphilly.com

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 37

Monday, June 27

CLU B DI RE CTORY• Theo Croker Love Quantum with Mike King, Eric Wheeler, Shekwoaga Ode

		Blue Note 8, 10:30 pm $35• George Gee Make-Believe Ballroom Orchestra
		
Bond 45 8 pm $25• Kuni Mikam
Bryant Park 12:30 pm• Bryan Carter Jazz at Pride Orchestra with Ella Bric, Richard Cortez, Nathan Farrell,
J Hoard, Vuyo Sotashe, Charles Turner, Charenee Wade		Dizzy’s Club 7:30, 9:30 pm $40
êMingus Big BandThe Django 7:30, 10:30 pmêGordon Grdina, Matt Mitchell, Jim Black		Drom 7 pm $15• Ari Hoenig Group
Fifth Hammer 6:30 pm
êEd Palermo Big Band
Iridium 8:30 pm $25• Spike Wilner
Mezzrow 7:30, 9 pm $20• Jason Brown
Smalls 7:30, 9 pm $20• Arcoiris Sandoval solo
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Ron Affif/Mark Whitfield
Zinc Bar 7, 8:30 pm $25

Tuesday, June 28• Diego Voglino

Bar Bayeux 8 pmêRalph Alessi Quartet with Angelica Sanchez, Chris Lightcap, Tom Rainey		Bar Lunàtico 8:30, 10 pm $10êTuck and Patti
Birdland 7, 9:30 pm $40• Gabrielle Stravelli Trio
Birdland Theater 5:30 pm $20• Theo Croker Love Quantum with Mike King, Eric Wheeler, Shekwoaga Ode
		Blue Note 8, 10:30 pm $35
êVince Giordano & The NighthawksBond 45 8 pm $25• Kuni Mikami
Bryant Park 12:30 pm• Luisito Quintero and 3rd Element with Felipe Fournier, Doug Beavers, Gabriel Chakarji,
Roman Lajara, Robert Quintero, Gabriel Vivas		
Dizzy’s Club 7:30, 9:30 pm $35• Carlos Abadie’s Latin Jazz Express with Alex De Lazzari, Alex Apolo Ayala,
Bobby Sanabria; Maria Raquel with Itai Kriss, Gabriel Chakarji, David Alastre,
Pablo Bencid
The Django 7:30, 10:30 pm• T.J. Borden, Brandon Lopez, James Mckain, Joey Sullivan; Shu Odamura, Nick West,
Shigeto Kamada
Downtown Music Gallery 6:30, 7:30 pm• Kevin Sun/Christian Li
Lowlands 8, 9:30 pm• Dave Lalama
Mezzrow 7:30, 9 pm $20• Adam Birnbaum Trio
St. Paul’s German Lutheran Church 8:30 pmêSteve Nelson
Smalls 7:30, 9 pm $20• Paul Jost Quartet
Soapbox Gallery 8 pm $25
êEthan Iverson Trio with Ben Street, Nasheet Waits		
Village Vanguard 8, 10 pm $40• Sol Liebeskind; Alex Asher
Wild Birds 7, 9 pm

Wednesday, June 29• Eric Wyatt/Christina Carminucci 54 Below 9:30 pm $25-60• Theo Bleckmann
The Atlantic BKLN 8 pm $25• Robin Verheyen Trio with Drew Gress, Billy Hart		Bar Bayeux 8, 9:30 pm• Rogério Boccato, Vinicius Gomes, Gili Lopes
		Bar Lunàtico 8:30, 10 pm $10êDavid Ostwald’s Louis Armstrong Eternity Band
Birdland 5:30 pm $30
êTuck and Patti
Birdland 7, 9:30 pm $40
êFrank Vignola’s Guitar Night with John DiMartino, Gary Mazzaroppi, Vince Cherico andguest Jimmy Bruno
Birdland Theater 8:30 pm $30• Theo Croker Love Quantum with Mike King, Eric Wheeler, Shekwoaga Ode
		Blue Note 8, 10:30 pm $35• Kuni Mikami
Bryant Park 12:30 pm• Jeb Patton Trio
Cellar Dog 7 pm $10• Michael Sarian Quartet
Chelsea Table & Stage 9:30 pm $35• Haruna Fukazawa Quintet with Steve Wilson, David DeMotta, Bill Moring, Steve Johns		The Cutting Room 7 pm $20-25êMichele Rosewoman’s New Yor-Uba with Alex Norris, Román Filiú, Stacy Dillard,
Chris Washburne, Gegg August, Robby Ameen, Román Díaz, Mauricio Herrera,
Rafael Monteagudo, Abraham Rodriguez
		Dizzy’s Club 7:30, 9:30 pm $35• Johnny O’Neal Trio with Luke Selleck, Ben Zweig; C. Anthony Bryant
		
The Django 7:30, 10:30 pm• Laura Perrudin/Fabian Almazan Drom 6:45 pm
êKavita Shah Quintet
Little Island 6:30 pm• Kenny Warren Quartet with Joanna Mattrey, Camilo Angeles, Brandon Lopez				
Lowlands 8 pm
• Alex Wintz
Mezzrow 7:30, 9 pm $20• Erik Leuthäuser
Pangea 7 pm $25• Chloe Perrier and The French Heart Jazz Band		
Rockwood Music Hall Stage 3 9 pm $15• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Brandon McCune
Smalls 7:30, 9 pm $20• Blue Note Jazz Festival: Nina Simone Tribute with Harlem Gospel Choir				Sony Hall 8 pm $35-55• Vadim Neselovskyi’s Odesa
The Stone at The New School 8:30 pm $20
êEthan Iverson Trio with Ben Street, Nasheet Waits		
Village Vanguard 8, 10 pm $40• Wayne Tucker and The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm $20

Thursday, June 30êMarta Sanchez

Bar Bayeux 5:30 pm• Adam Kolker/Jeremy Stratton and guest Billy Drewes

		
Bar Bayeux 8, 9:30 pmêTuck and Patti
Birdland 7, 9:30 pm $40• Kuni Mikami
Bryant Park 12:30 pm• Alvin Flythe
Bushwick Inlet Park 6:30 pmêItai Kriss and La Guarancharanga Cellar Dog 7 pm $10êMichele Rosewoman’s New Yor-Uba with Alex Norris, Román Filiú, Stacy Dillard,
Chris Washburne, Gegg August, Robby Ameen, Román Díaz, Mauricio Herrera,
Rafael Monteagudo, Abraham Rodriguez
		Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet with Jeremy Pelt; Ian Hendrickson-Smith		The Django 7:30, 10:30 pm• Pedrito Martinez
Drom 8 pm $30• Queen Esther’s The Black Rose of Texas with Kat Edmonson, Synead Cidney Nichols		
Josie Robertson Plaza at Lincoln Center 7:30 pm• Randy Ingram
Mezzrow 7:30, 9 pm $20
êThe Lighthouse Project: Dave Liebman, Jerry Bergonzi, Gene Perla, Adam Nussbaum		Nublu 151 8, 10 pm $20• Erik Plaks Trio with Adam Lane, Tscheser Holmes
		
Shrine 8 pm
• Itamar Borochov; David Gibson Smalls 7:30, 9, 10:30 pm $20• Lorin Cohen Trio with grant Richards, Donald Edwards
		Soapbox Gallery 8 pm $25• Blue Note Jazz Festival: Dizzy Gillespie Big Band		Sony Hall 8 pm $35-55• Anonym: Simon Hanes, Sami Stevens, Evan Allen, Joanna Mattrey
		
The Stone at The New School 8:30 pm $20
êEthan iverson Trio with Ben Street, Nasheet Waits		
Village Vanguard 8, 10 pm $40• 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• 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• Archie Spigner Park Merrick Boulevard, Queens(212) 639-9675 Train: LIRR to St. Albans• The Atlantic BKLN 333 Atlantic Avenue
Subway: A, C, G to Hoyt-Schermerhorn Streets www.atlanticbkln.com• Austrian Cultural Forum 11 E. 52nd Street at Madison Avenue(212-319-5300) Subway: 6 to 51st Street www.acfny.org• BAMCafé 30 Lafayette Ave at Ashland Place(718-636-4139) Subway: M, N, R, W to Pacific Street;
Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street www.barbayeux.com• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue www.barbesbrooklyn.com• Bargemusic Fulton Ferry Landing(718-624-4061) Subway: F to York Street, A, C to High Street
www.bargemusic.org• Birdland and Birdland Theater 315 W. 44th Street(212-581-3080) Subway: A, C, E, to 42nd Street www.birdlandjazz.com• Blue Note 131 W. 3rd Street at 6th Avenue(212-475-8592) Subway: A, B, C, D, E, F to W. 4th Street
www.bluenotejazz.com• Bond 45 221 W. 46th Street(212-869-4545) Subway: B, F, M to 47-50 Streets www.bond45ny.com• Broadway Presbyterian Church 601 W. 114th Street(212-864-6100) Subway: 1 to 116th Street-Columbia University• Bronx River Art Center 1087 East Tremont Avenue(between Boston Road & E. 177th Street) (718-589-5819)
Subway: 5 to East 180th Street www.bronxriverart.org• Brooklyn Bowl 61 Wythe Avenue(718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com• Bryant Park 5th and 6th Avenues between 40th and 42nd Streets
Subway: 4, 5, 6 to 42nd Street www.bryantpark.org• Bushwick Inlet Park Kent Avenue between N. 7th and 12th Streets, Brooklyn
Subway: L to Bedford Avenue• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Street www.cellardog.net• Central Park Summerstage, Rumsey Playfield 72nd Street and Fifth Avenue(212-360-2777) Subway: B, D to 72nd Street www.summerstage.org• Chelsea Factory 547 W. 26th Street(917-281-6379) Subway: A, C, E to 23rd Street www.chelseafactory.org• 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• Clemente Soto Velez Cultural Center 107 Suffolk Street
Subway: F, J, M, Z to Delancey Street• Clove Lakes Park 1150 Clove Road, Staten Island Bus: X12• Culture Lab LIC 5-25 46th Avenue, Long Island City
(347-848-0030) Subway: 7 to Vernon Boulevard/Jackson Avenue
www.facebook.com/culturelablic• The Cutting Room 44 E. 32nd Street(212-691-1900) Subway: 6 to 33rd Street www.thecuttingroomnyc.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• Don’t Tell Mama 343 W. 46th Street(212-757-0788) Subway: Subway: A, C, E, F, V to 42nd Street-Port Authority
www.donttellmama.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• Father Gigante Plaza 871 Tiffany Street, Bronx
Subway: 6 to Longwood Avenue• Fifth Hammer 10-28 46th Avenue, Long Island City
Subway: 7 to Vernon Boulevard/Jackson Avenue
www.fifthhammerbrewing.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• Gantry Plaza State Park 49th Avenue and Center Boulevard
Subway: 7 to Vernon Boulevard-Jackson Avenue• Goddard Riverside’s Bernie Wohl Center 647 Columbus Avenue(212-799-9400) Subway: 1 to 86th Street www.goddard.org• Governors Island Ferry from Battery Maritime Building• Grant’s Tomb 122nd Street and Riverside Drive Subway: 1 to 125th Street• 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• The Greene Space 44 Charlton Street(646-829-4400) Subway: 1 to Houston Street www.thegreenespace.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• Harlem School of the Arts 645 St. Nicholas Avenue at 145th Street(212-926-4100) Subway: D to 145th Street www.hsanyc.org• Hispanic Society Museum and Library 613 W. 155th Street(212-926-2234) Subway: 1 to 157th Sreet www.hispanicsociety.org• Hudson Park Library 66 Leroy Street(212-243-6876) Subway: A, B, C, D, E, F to W. 4th Street www.nypl.org• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue www.ibeambrooklyn.com• The Interchurch Center 61 Claremont Avenue(212-870-2200) Subway: 1 to 116th Street www.interchurch-center.org• Iridium 1650 Broadway at 51st Street(212-582-2121) Subway: 1,2 to 50th Street www.theiridium.com• JACK 18 Putnam Avenue(718-388-2251) Subway: A, C to Franklin Avenue www.jackny.org• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street www.jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox(212-348-8300) Subway: 6 to 125th Street www.jazzmuseuminharlem.org• Joe’s Pub at the Public Theater 425 Lafayette Street(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.joespub.com• Josie Robertson Plaza (at Lincoln Center) 1941 Broadway at 65th Street(212-875-5050) Subway: 1, 2 to 66th Street-Lincoln Center
www.lincolncenter.org• Joyce Theater 175 Eighth Avenue(212-691-9740) Subway: A, C, E, L to 14th Street

38 JUNE 2022 | THE NEW YORK CITY JAZZ RECORD• The Keep 205 Cypress Avenue, Queens(718-381-0400) Subway: L to Jefferson Street www.thekeepny.com• Knickerbocker Bar & Grill 33 University Place at 9th Street(212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com• Little Island Pier 55 at Hudson River Park Greenway
Subway: A, C, E, L to 14th Street www.littleisland.org• Lowlands 543 Third Avenue, Brooklyn(347-463-9458) Subway: R to Prospect Avenue www.lowlandsbar.com• Mezzrow 163 W. 10th Street(646-476-4346) Subway: 1 to Christopher Street www.mezzrow.com• Michiko Studios 149 W. 46th Street, 3rd Floor(212-302-4011) Subway: B, D, F, M to 47-50 Streets www.michikostudios.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street www.mintonsharlem.com• Morris Jumel Mansion 65 Jumel Terrace, between 160th & 162nd Streets,
St Nicholas & Edgecombe Avenues
Subway: C to 163 Street - Amsterdam Avenue• Mount Morris Ascension Presbyterian Church 15 Mount Morris Park West(212-831-6800) Subway: 2, 3 to 125 Street• National Sawdust 80 N. 6th Street(646-779-8455) Subway: L to Bedford Avenue www.nationalsawdust.org• Neighborhood Church of Greenwich Village 269 Bleecker Street(212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street www.ncgv.net• New York Jazz Workshop 265 W. 37th St, 10th floor suite(212-287-5908) Subway: A, C, E to 34th Street-Penn Stationwww.newyorkjazzworkshop.com• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street• Nublu 151 151 Avenue C
Subway: L to First Avenue www.nublu.net• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
www.ornithologyjazzclub.com• 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• Pelham Fritz Recreation Center 18 Mt Morris Park West(212-860-1380) Subway: 2, 3 to 125th Street• Penny Jo’s 3898 Broadway(646-609-2216 )Subway: 1 to 168th Street-Washington Heights• Pete’s Candy Store 709 Lorimer Street(718-302-3770) Subway: L to Lorimer Street• Pier 84 W. 44th Street and Hudson River
Subway: A, C, E, F, V to 42nd Street-Port Authority• Prospect Park Bandshell Subway: F to Prospect Park• Public Records 233 Butler Street
Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue www.publicrecords.nyc• Riverbank State Park 679 Riverside Drive at 145th Street
Subway: A, C, 1 to 145th Street• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Street www.rizzolibookstore.com• Roberto Clemente State Park 301 W. Tremont Avenue, Bronx(718-299-8750) Metro North: Hudson Line to Morris Heights• Rockefeller Park Chambers Street and Hudson River
Subway: 1, 2, 3 to Chambers Street• 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• Roy Wilkins Recreation Center 17701 Baisley Blvd, Jamaica(718-276-8686) Bus: Q85 Bus to Merrick Boulevard/Baisley Boulevard• St. Paul’s German Lutheran Church 315 W. 22nd Street(212-929-1695) Subway: A, C, E to 23rd Street www.stpaulny.org• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street www.saintpeters.org• Salmagundi Club 47 Fifth Avenue(212-255-7740) Subway: 4, 5, 6, N, R to 14th Street-Union Squarewww.salmagundi.org• Scandinavia House 58 Park Avenue at 37th Street(212-879-9779) Subway: 4, 5, 6 to 42nd Street-Grand Central 		
www.scandinaviahouse.org• Scholes Street Studio 375 Lorimer Street(718-964-8763) Subway: L to Lorimer Street www.scholesstreetstudio.com• SEEDS 617 Vanderbilt Avenue
Subway: 2, 3, 4 to Grand Army Plaza www.seedsbrooklyn.org• Shrine World Music 2271 Adam Clayton Powell Boulevard(between 133rd & 134th Streets) (212-690-7807)
Subway: B, 2, 3 to 135th Street www.shrinenyc.com• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn(718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street www.smallsjazzclub.com• Soapbox Gallery 636 Dean Street
Subway: 2, 3 to Bergen Street www.soapboxgallery.org• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street www.sonyhall.com• Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues)
Subway: 2 to Sterling Street• South Oxford Park 197 S. Oxford Street(212-639-9675) Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue• The Speakeasy at Jaffe Drive Broadway at 65th Street(212-875-5050) Subway: 1, 2 to 66th Str. -Lincoln Center
www.lincolncenter.org• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street www.thestonenyc.com• The Sultan Room 234 Starr Street(612-964-1420) Subway: L to Jefferson Street www.thesultanroom.com• Symphony Space Leonard Nimoy Thalia, Peter Jay Sharpe Theatre and Bar Thalia
2537 Broadway at 95th Street (212-864-5400) Subway: 1, 2, 3 to 96th Street
www.symphonyspace.org• Town Hall 123 W. 43rd Street(212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park
www.thetownhall.org• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com• Washington Square Park Subway: A, B, C, D, E, F, M to W. 4th Street• Wild Birds 951 Dean Street(347-896-5056) Subway: A, C to Franklin Avenue www.wildbirdsbk.com• Williamsbridge Oval 3225 Reservoir Oval E, Bronx Subway: 4 to Mosholu Parkway• Willow Place Auditorium 26 Willow Place Subway: N, R, W to Court Street• Woodlawn Cemetery 517 E 233rd Street(718-920-0500) Subway: 2, 5 to 219th Street www.thewoodlawncemetery.org• Zinc Bar 82 W. 3rd Street(212-477-8337) Subway: A, B, C, D, E, F to W. 4th Street www.zincjazz.com• Zürcher Gallery 33 Bleecker Street(212-777-0790) Subway: 6 to Bleeker Street; B, D, F to Broadway-Lafayettewww.galeriezurcher.com

(INTERVIEW CONTINUED FROM PAGE 6)
a higher purpose. I included him on one recording,
Shekhina Big Band, and I’m so happy that I did because
it’s something that lasts. Thomas played bass flute, alto
and baritone saxophones and was ill but had this beauty
and joy that he brought to everything he did.
TNYCJR: Last month you premiered “No Pasarán” withdrummer Michael Sarin who also played with Chapin.
FL: With José Davila on trombone and Marcus Rojas on
tuba. I hope to do a lot more of brass trio plus percussion.
I look at the World and ROVA Saxophone Quartets andask why isn’t there a brass group that does that? It cameout of a dance performance I scored called Rube G., as in
Rube Goldberg, by Jody Oberfelder. This is all mymusic; it’s not in a genre and goes back to my experienceswith Lester Bowie. I think it will be my next album.
TNYCJR: You also curate a series at Flushing Town Hall.
FL: Under the direction of Ellen Kodadek, Flushing
Town Hall had Global Mashups for years with twobands from different world traditions. My Klezmer
brass band did one with a Latin boogaloo band,
Spanglish Fly. There were dance instructors and Klezmer
and Salsa dancing were taught. Each band does a short
set and then figures out something to do together. It
hearkened back to the days of Salsa meets jazz nights at
the Village Gate. About a year and a half into thepandemic, to try to reopen safely, I suggested a mini
version with two solo artists who represent different
traditions and Ellen said, why don’t you curate it?
They’ve now extended it to the end of 2022 and I’ll haveprogrammed like 18 different concerts.
TNYCJR: How do you answer people who accuse youof cultural appropriation?
FL: No one has ever accused me of cultural appropriation,
at least not to my face. Maybe it is because they knowthat if they did, they would be critically challenged fortheir assumptions? It is very good to think about anddiscuss
this
issue
and
it
is
all in the details. For instance, I had absolutely no
experience of Yiddish culture directly in my youth;coming from the economically dominant popular music
culture—American rock ‘n’ roll, soul music, etc.—notfrom the oppressed, denigrated Yiddish language andmusic, nearly wiped out by the one-two punch of the
Holocaust and post-war Israeli pro-Hebrew policies. So,
interestingly, if there is a culture that I am guilty of
appropriating it could be Jewish and Yiddish culture.
But, I would counter that everything that I know about
Jewish and Yiddish culture and music came through myrigorous studies as an adult, which is equally true of myknowledge of all other musics that I have worked in for
45 years. Furthermore, just because I am an Ashkenazic
Jew doesn’t mean that I cannot engage in cultural
appropriation of Yiddish culture. That betrays anessentialist thinking shockingly similar to Nazi-esqueideology; like ‘Jews can’t play Beethoven, everything a
Jew does is Jewish’. This type of thinking can be used tojustify eliminating, for example, African-Americans andanyone who is not white, Christian, European andperhaps male from performing in orchestras. So, yes,
after study and respectful interaction, the dominant
me—white, male, English-speaking—took “Yiddish
music and culture” from an oppressed minority
culture—Jewish, Yiddish speaking, non-white in thetime and place of its creation—something that was not‘mine’ except by strict literal essentialist thinking, formy own profit and benefit. There is much more to say
about this and with limited space, perhaps it should
become the basis of a larger discussion.
TNYCJR: Ghetto Songs is another recent project.

FL: It was commissioned by the Jewish community of
Venice, in commemoration of the 500th anniversary of
the opening of the Venice ghetto, where the term was
first applied to the Jewish sector. I put together anincredible group of musicians, including guitarist/
vocalist Brandon Ross, the amazing Karim Sulayman,
who won the Grammy for best classical vocal
performance, cantors Svetlana Kundish and YaakovLemmer, percussionist Kenny Wollesen, cellist Marika
Hughes,bassist
Gregg
Augustandmultiinstrumentalist Ilya Shneyveys. We explore music fromghettos, including everything from medieval Italianmusic to the band War ’s “The World is a Ghetto”.
I look at Ghetto Songs as a vocal recital of great vocal
music from around the world. Why do we only thinkof the Western European classical tradition as vocal
recital music?
TNYCJR: You just premiered a multimedia piece,“Prayer for Ukraine”, at Barbès. Can you speak to that?
FL: During the pandemic I learned how to do homerecording and very elementary video. On “Prayer for
Ukraine” I was thinking about the Ukrainian flag andthe two colors and it led my mind to Mark Rothko. It
is a medley of Mark Rothko paintings with the
Ukrainian flag, because of the simple color blocks.
Conceptually, it’s about abstract art and abstract music
versus representational art and the same thing withmusic. It’s a meditation on strength and energy, which
is what the people there need right now to survive,
along with military assistance.
TNYCJR: Another pandemic release is Adeena
Karasick’s long poem Salome: Woman of Valor.
FL: I’ve known Adeena for about 10 years and we said
let’s do this project together. I love poetry, music jazzand improvisation, like Mingus’ Scenes in the City. In
a lot of my explorations of Jewish music, I’m particular
about using the traditional modes. Other people justthrow together a bunch of notes, because they sort ofsound exotic and say, ‘listen, it’s like Jewish music’ andI hate that. But to liberate myself for Salome I use these
syncretic modal scales that have elements of Jewish,
Ethiopian, Indian and Arabic modes.
TNYCJR: In closing, what’s in the works?
FL: I’m preparing a huge piece for the end of 2022
as part of the New York Town Hall’s 100th
anniversary, a new musical theater piece called
Desperately Seeking Nellie. It is an homage to the Town
Hall of the early ‘80s, when 42nd Street was at its mostwild and crazy. They were doing Yiddish theater
revivals at Town Hall every year. In this original story,a Hasidic girl runs away from home and ends up in
Times Square in 1980, with all the associations of that,to audition for Nellie Casman’s Yiddish theater piece
The Show Girl, which actually played at Town Hall in
1982. She runs into her old Hasidic best friend
neighbor, who’s now come out as a drag performer inTimes Square. I’m writing this with Michael Wex andEleanor Reissa. v(LEST WE FORGET CONTINUED FROM PAGE 10)
Traditions in Swing programs. (Like all WKCR
programmers—including, for the sake of disclosure,
this author—Schaap worked at the station without pay.)
The Queens native and lifelong resident will be
remembered this month in a concert by the Queens
Jazz Orchestra led by saxophonist Antonio Hart,
Professor of Jazz Studies in the Aaron Copland Schoolof Music at Queens College City University of New
York. He acknowledged that he only met Schaap a few
times, but was an avid listener to Bird Flight. “It was
nice to wake up to hearing Charlie Parker every
morning and having some anecdotes,” he said, addingthat Schaap was “quite brilliant, he was like a computerin terms of his retention...He was important to themusic. He kept Charlie Parker ’s music alive togenerations that probably wouldn’t have heard it.”
One person who did know Schaap both on and off
the air was his fellow WKCR jazz programmer Sid
Gribetz, who recalled fondly his friend’s devotion to
the cause. “He presented the jazz musicians, great andsmall, as living treasures with something to say, worth
reverence and a place in our ongoing heritage and not
as relics of nostalgia,” Gribetz said. “He also practiced
a rigor of scholarship to properly research and present
the music in an intelligent manner, with a concern for
accuracy in the presentation. Despite the wide breadthof his knowledge, Phil had a gleeful sense of joy andwonder in his awe upon the discovery of new material”
Gribetz and Schaap were classmates when WKCR’s
jazz department was brought into being and was there
when Schaap launched the first Charlie Parker festival
on the air and extended the practice into a station
tradition of birthday broadcast marathons for thegreats of American music. He acknowledged that theobsessive spirit that led to programming one artist for
24 hours could also lead to some pontification on thesubject, part of Schaap’s uniqueness as a broadcaster.
“While I wouldn’t deny that he was lengthy andverbose in his commentary, the speeches were always
intelligent and interesting,” Gribetz said. “Those who
criticized him are the ones to hold at fault. They lacked
the patience to hear a whole story and the imaginationand intellectual curiosity to find joy in the interesting
things said. As I heard Phil put it several times. ‘If you
don’t find it interesting that Coleman Hawkins’
grandmother ran a hotel in Missouri that gave shelter
to Jesse James, then the problem’s with you.’” v
For more information, visit philschaapjazz.com. A tribute to
Schaap by the Queens Jazz Orchestra led by Antonio Hart is
at Flushing Town Hall Jun. 17th. See Calendar.
(LABEL CONTINUED FROM PAGE 11)

For more information, visit franklondon.com. London is atDrom Jun. 15th. See Calendar.

the making of which, Pennisi recalls, required a roundof cappuccinos after each tune, for a total of 18!
Moreover, there is a wealth of tapes that have been in
the vault for almost 40 years waiting to be issued, suchas Baker ’s precious 1987 live recording Intimacy. The
covers remain very stylish, confirming once again
Pennisi’s taste and craftmanship. Red is distributed in
the U.S. through Stateside and can also be found on
most streaming platforms, although there is no
substitute for the vinyl sound. v

Recommended Listening:• Klezmer Conservatory Band–Yiddishe Renaissance(Kleztone-Vanguard, 1981)• Les Misérables Brass Band–Manic Traditions(Northeastern, 1988)• The Klezmatics–Rhythm and Jews (Piranha, 1990)• Hasidic New Wave–The Complete Recordings(Knitting Factory-Tzadik, 1993-2001)• Frank London–Invocations (Tzadik, 2000)• Frank London–Ghetto Songs (Felmay, 2020)

For more information, visit redrecords.it. Artists performing
this month include Kenny Barron at Blue Note Jun.
21st-26th; Jerry Bergonzi at Bar Bayeux Jun. 9th and Nublu
151 Jun. 30th; Fred Hersch at Village Vanguard Jun.
21st-26th; Dave Liebman at Birdland through Jun. 4th, The
Jazz Gallery Jun. 9th and Nublu 151 Jun. 30th; Steve
Nelson at Smalls Jun. 29th; Dick Oatts at Village Vanguard
Mondays with the Vanguard Jazz Orchestra; and Saul
Rubin at Cellar Dog Jun. 1st, Bar Lunàtico Jun. 3rd and
The Django Jun. 4th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JUNE 2022 39