FEBRUARY 2022—ISSUE 238

YOUR FREE GUIDE TO THE NYC JAZZ SCENENYCJAZZRECORD.COM

JAY
CLAYTON

LISTENING ISNOT OPTIONAL

ARTUROSANDOVALMARQUISHILL

ED
NEUMEISTER

ELTON
DEAN

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

FEBRUARY 2022—ISSUE 238
NEW YORK@NIGHT

Laurence Donohue-Greene:ldgreene@nycjazzrecord.com

INTERVIEW : ARTURO SANDOVAL

Andrey Henkin:ahenkin@nycjazzrecord.com

ARTIST FEATURE : MARQUIS HILLON THE COVER : JAY CLAYTONAdvertising:advertising@nycjazzrecord.com

ENCORE : ED NEUMEISTER

Calendar:calendar@nycjazzrecord.com

LEST WE FORGET : ELTON DEAN

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VOXNEWS
OBITUARIES

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
Ori Dagan, Brian Charette,
Mike Cobb, Jason Gross,George Kanzler, Steven Loewy,
Franz Matzner, Monique Ngozi Nri
Contributing Photographers
Steven Goldberg, Tom Greenland,
Alan Nahigian, Robert I. Sutherland-Cohen
Fact-checker
Nate Dorward

ALBUM REVIEWSEVENT CALENDAR

4
6
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8
10
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11
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by mike cobb
by jason grossby ori dagan
by steven loewy
by marco cangianoby jim motavalli
by suzanne lorge
by andrey henkin

One of the most exciting facets of jazz­— if not the most—is its unpredictability. The
magic of improvisation or real-time creation leads to real music of the moment. These
un-recreatable moments are precious and why live performance is especially integral tothe appreciation of jazz. However, unpredictability in life is not so fun. Some two years
into the pandemic, it is hard to know where one and the world at large stands. Previous
periods of desperation gave way to hope, only to be pushed back down. As of this issue’s
publication, New York is in flux as hospitalizations rise and a new wave of emotional
weariness has set in. One victim of this is the cultural landscape, as concerts are being
cancelled out of an abundance of caution and musicians, venues and audience members
are again wondering if and when things will return to normalcy.
It is then another facet of jazz that we must look to in getting through this period.
Jazz is a music of collective action, wherein the contributions of each player cannot be
removed from the whole, lest the entire structure fall apart. So too in our society does
the action of the individual have an outsized impact. It is up to everyone to do theirpart—even if it means inconvenience or an impinging on some sort of imagined
freedom—in order that recovery and renewal can be in our personal and public future.

nycjazzrecord.com

On The Cover: Jay Clayton (photo by Steven Goldberg / courtesy of the artist)
Corrections: In last month’s Label Spotlight, the correct name is Asian Improv Arts.
In last month’s CD Reviews, Joe Farnsworth’s album was recorded live at Smoke andthe bassist in Resilient Vessels is Josh Werner.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORDFEB 25–26

VOICES OF MISSISSIPPI
A new multimedia event
celebrating the music, art,and storytelling traditionsof the people of Mississippi.
Based on the 2019 double
Grammy Award-winning
Voices of Mississippi: Artists
and Musicians Documented
by William Ferris.

FEB 11–12

DIANNE REEVES:
LET’S FALL IN LOVEFEATURINGBOBBY RUSH AND RUTHIE FOSTER
WITH WILLIAM FERRISCEDRIC BURNSIDESHARDE THOMAS
LUTHER AND CODY DICKINSON
OF THE NORTH MISSISSIPPI ALLSTARS

This program is presented through thegenerosity of Jody and John Arnhold.

ERTEGUN JAZZ SERIES
Continuing a hugely popular
tradition now in its 10th year,
vocalist Dianne Reeves sets
the mood for Valentine’s Day
weekend with a mesmerizing
concert in Rose Theater.

212.721.6500
BROADWAY AT 60 ST., 5TH FL.

photo Nah Seung Yull"“Towering, Hypnotic, Psychedelic Korean Post Rock Majesty”- New York Music Daily

GlobalFest 2022 Artist Award Winner!

NEW YORK @ NIGHT
O n a stormy Sunday night (Jan. 16th), rain-melted F or lovers of hard-driving, percussive piano withTARU ALEXANDERECHOES OF
THE MASTERS
SSC 1645

AVAILABLE NOW—Taru Alexander celebrates the legacy of his father,
Roland Alexander, and his father’s peers.

JOHN HÉBERTSOUNDS OF LOVESSC 1646

AVAILABLE NOW—John Hébert assembled an incredible band to play withthe spirit of Mingus.

GUI DUVIGNAU
BADEN
SSC 1655

CARLOS FRANZETTIIN THE WEE SMALLHOURS
SSC 1647

AVAILABLE NOW—Carlos Franzetti has turned to the optimistic torch songs ofthe 1940s and 1950s to bring listeners out of their pandemic
induced gloom on his new recording, In The Wee Small Hours.

STEFAN PASBORGRITUAL DANCES
SSC 4118AVAILABLE 2/11/22—Stefan Pasborg’s reinvention of Igor Stravinsky’s iconic
works are as brilliant as they are invigorating. Ritual Dancesdoesn’t rewrite Stravinsky so much as bring his work into the
21st century in bombastic style.

www.sunnysiderecords.com

TOM GREENLANDAVAILABLE NOW—To pay tribute to Baden Powell Duvignau invited mentor
Ron Carter to participate and recruited the great guitarist Bill
Frisell to add his brilliant tones to a number of the pieces.

repetitive rhythms and tonalities, Benito Gonzalez isyour man—one who even plays with the innards mic’dto emphasize the hammering of strings. At The Django(Jan. 18th), Gonzalez dove into a set of long-form
pieces with surges of reiterated, modally-based notes
dominating. This devotion to bold, forceful statements,
with AfroLatin patterns, is traceable to the drum as afirst musical experience in his Venezuelan childhood;the path eventually led him to a profound love of
McCoy Tyner. It was Tyner ’s “Fly With The Wind” thatstood out in the set, partly because of the innate
superiority of the work, which allowed bassist Will
Slater more room for creative ideas, such as a solo in
which the flapping of bird wings could easily beinterpreted. Likewise, drummer Curtis McPhatter, Jr.
was freed to exercise subtlety, particularly with sticks
and cymbals, to widen the options generally requiredof Gonzalez’ concentrated style. For pure Gonzalez,
opener “Visionary” was a tutorial in his hammering
ethos. “Safari”, with a discernible melodic thread,included a very short riff of standard “Bye ByeBlackbird” (Ray Henderson-Mort Dixon), part ofTyner ’s repertoire with John Coltrane. This musicalinsertion added some levity to the tune, although it
was clear throughout that the intensely focused
Gonzalez was having quite a lot of fun with himself—and sometimes with Slater, with whom he would
exchange meaningful glances.
—Marilyn Lester

R.I. SUTHERLAND-COHEN / JAZZEXPRESSIONS.ORG

snow making sidewalks dangerously slippery, wheresnugger to shelter than North Williamsburg’s Union
Pool? A high-calorie duet by tenor saxophonist Zoh
Amba and drummer Marc Edwards was second of
three acts: before a solo electronic set by Mike Bernstein,after a turbulent trio of tenor saxophonist James
Brandon Lewis, bassist Meshell Ndegeocello anddrummer Ryan Sawyer. Though a recent (September)arrival to the city, Amba has already connected withveteran downtown artists like Edwards, a tribute to
her potent playing, which ranges from high-pitchededgy skronk à la John Zorn to tremulous tenderballadry. The former quality manifested from the very
start of Edwards’ “Red Sprites and Blue Jets”, the latteremerging in its poignant closing notes, heavy trebly
blasts subsiding to romantic vibratos. “Morning Dew”
(also by Edwards) traced just the opposite dynamic
curve. “J[upiter] Theme” (borrowed from Gustav
Holst’s The Planets) reached amazing intensity levels
before its quiet finish, the crowd growing from three tofour dozen, pressing closer as the set unfurled. A free
improv built around nursery rhyme-like themes wasfollowed by Amba’s ballad “Hymn to the Divine
Mother” featuring her lonely upper-register wailing.
A final free improv, also based on short, folksy motifs,
opened with romping drums, Edwards’ strokes falling
like avalanche stones, ending the jam alone again, now
in a Township jazz vibe.
—Tom Greenland

Zoh Amba @ Union Pool

Benito Gonzalez @ The Django

Though in the ‘90s it was easy to catch innovative Acting experience and radio hosting continues toArgentine pianist Guillermo Klein at weekly Gauchos
gigs his relocation to Spain has curtailed local
appearances. A treat then to hear him at Bar Bayeux(Jan. 12th), a long, narrow venue crammed withvociferous fans in Brooklyn’s Prospect Lefferts
Gardens. The trim sound of Klein on acoustic piano,
fellow Argentine Leo Genovese on electric piano andsynthesizer, Matt Pavolka on bass and Allan Mednard
on drumset foregrounded Klein’s idiosyncratic yethighly accessible compositions. All songs weredistillations of earlier big(ger) band versions, including“Push Me Not/Volante” from 2008’s Filtros, “ArteSano”
and “Que Carrera?” from 2012’s Carrera, “Camello2022” and “Platense” from 2015’s Infinite Winds and“Upstate” from 2019’s Cristal. Each rendition stood on
its own, without need for extended blowing, though
Genovese’s mercurial solos, laced with lightningquick, keyboard-spanning runs, upped the excitement
factor, eliciting appreciative cries from the cognoscenti,
audible even from the opposite end of the room.
Mednard generated additional excitement with adroit
percussive punctuation, kicking those tricky rhythmic/
melodic patterns in just the right places so that Klein’s
unique compositions came to life. Like a well-rehearsed
drill team the quartet performed the intricate pieces
with joyous precision, showing that even the hardest
moves become effortless once one’s artistic impulses
have been amply inspired. 		
(TG)

4 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD

inform Lezlie Harrison’s interpretive abilities as amajor jazz vocalist. Her outing at the Soapbox Gallery(Jan. 14th) offered variety from a mellow, sultry,compelling “The Nearness of You” (Hoagy CarmichaelNed Washington) to good advice in Abbey Lincoln’s“Throw It Away”, plus a measure of social awarenesswith “What’s Going On” (Renaldo Benson-Al
Cleveland-Marvin Gaye). Harrison exudes quiet
elegance with masterful phrasing, immediately notablein her opener of “I Wish I Knew” (Harry Warren-Mack
Gordon). Strong on standards and ballads, Harrison
also swung, such as with “September In the Rain”(Warren-Al Dubin), dedicated to late trumpeter Roy
Hargrove, with whom she had big-band experience.
Effective backup was provided by pianist Ben Paterson
and bassist Yoshi Waki. The latter is an artist of terrificagility, playing a resonant instrument, equally adept
close to the melody and in supplying creative ideas.
Paterson provided strong, supportive accompanimentthroughout, revealing inventive chops on Bill Withers’
blues ballad “Ain’t No Sunshine”. With Harrison
delivering a driving lyrical narrative, Paterson at one
point continued on the keys with his right hand while
his left reached for direct contact with the strings for
percussive, guitar-like augmentation. The rousing,
swinging “Bye Bye Blackbird” (Ray Henderson-Mort
Dixon) closed out a rich smorgasbord of deeply
satisfying jazz. 				(ML)In a career spanning more than half a century Dee Dee Leaping into their online session moments before
Bridgewater has been heard in a multitude of contexts,
but seldom in the intimate setting of piano/voice duetas in her engagement with Bill Charlap at Birdland.
The pair eased into their first set (Jan. 6th) with adelicately evinced rendition of “Here’s That RainyDay”. The singer demonstrated her clarion-toned
upper register and the pianist his notable facility as asensitive accompanist. Charlap then ramped things
up, laying down a potent dark vamp to set up a wildly
swinging version of “Caravan”, Bridgewater delivering
a dramatic reading of the lyric before taking off with ahigh-flying scat chorus Charlap matched with a starkly
original solo mixing old timey and avant garde phrases,
inspiring some riotously playful exchanges. The moodcalmed with a hushed rendering of “My Funny
Valentine”, which flowed into a rhythmically charged“In The Heat Of The Night”. A hilarious takeoff on“Honeysuckle Rose”, Bridgewater singing faux opera
and Charlap quoting the Charlie Brown theme, wasfollowed by a sultry “Just One Of Those Things” anda “Mood Indigo” oozing with sensuality. Bridgewater
began “’S Wonderful” slowly intoning the lyric before
going into swing mode, ending with a comical tag. She
invoked a raspy Louis Armstrong on “What Is Thing
Called Love?’’, then let loose with some formidable
scatting on “Cotton Tail”, which had the crowd begging
for more and which they got with the exquisitely sungencore of “Angel Eyes”. 		
—Russ Musto

expected, this trio of veteran improvisers soared into
the cyberspace arena of Arts for Art’s Online Salon(Jan. 20th). Steve Swell, the acclaimed voice of the oldschool New Thing on trombone and baritone
saxophonist Dave Sewelson, an acknowledged masterof his chosen horn, matched wits and liberties withdrummer Michael Vatcher, a resident of Amsterdam’s
experimental circuit since the ‘80s. It may be his
acclamation to Euro free improv that guided this set’s
opening, Vatcher stroking and coaxing his kit,
depressing drumheads with an elbow or drumstick, as
Swell and Sewelson whispered and shushed when
they may have otherwise let loose the howl. The effectwas hypnotic, but the saxophonist soon braved theelements with rapid key-snapping runs, drawing Swell
into a moderato, tightly threaded call-and-response. A
second piece opened with Vatcher solo, demonstrating
uniquely wide, perhaps exaggerated motions, moreakin to a Japanese calligrapher than a jazz drummer.
Hands flailed and swirled over and under cymbals,
toms and the bass drum’s shell leading to Swell andSewelson casting fiery swaths over the bare structure.
Each sound was draped in the fabric of the whole evenwhile shining individualistically. Slowly dream-like,
Sewelson’s slurred melodic descent recalled wonderfulinebriations on darkest nights, with Swell’s looped
canonic figures and resounding drones exhibiting thebreadth of invention.
—John Pietaro

W H AT ’ S N E W S
Carnegie Hall’s Afrofuturism Festival, exploring
literature, music, film and visual art, will take place inperson and online in February and March, both atCarnegie Hall and at over 70 partnering venues. For thecomplete schedule, visit carnegiehall.org/events/
highlights/afrofuturism.
It has been announced that British bassist Roy
Babbington, veteran of hundreds of recordings since
the late ‘60s and most part of the current iteration ofSoft Machine, has retired from performance due tohand issues.
Nominees for the NAACP Image Award, taking place
Feb. 26th at 8 pm on BET, have been announced.
Relevant categories include Outstanding Soundtrack/
Compilation Album: The United States vs. Billie
Holiday (Music from the Motion Picture); Outstanding
Jazz Album - Instrumental: Forever…Jaz—Jazmin
Ghent (s/r); Love Languages—Nathan Mitchell (ENM
Music Group); Somewhere Different—Brandee
Younger (Impulse!); Sounds from the Ancestors—
Kenny Garrett (Mack Avenue); The Magic of Now—
Orrin Evans (Smoke Sessions); and Outstanding Jazz
Album - Vocal: Dear Love—Jazzmeia Horn and Her
Noble Force (Empress Legacy); Generations—The
Baylor Project (Be A Light); Ledisi Sings Nina—Ledisi(Listen Back Entertainment / BMG); Let There Be
Love—Freda Payne (Alain Franke Records);
SALSWING!—Rubén Blades y Roberto Delgado &Orquesta (Rubén Blades Productions). For more
information, visit naacpimageawards.net.

ALAN NAHIGIAN

Arts for Art will present the following live-stream
performances in February at artsforart.org/onlinesalon
Tuesdays and Thursdays at 7 pm: Mara Rosenbloom(Feb. 1st); Ava Mendoza/James Brandon Lewis/Devin
Hoff (Feb. 3rd); Karen Borca (Feb. 8th); Ingrid
Laubrock/Jose Davila/Tom Rainey (Feb. 10th); Andrea
Wolper/Virg Dzurinko/Judith Insell (Feb. 15th); Yoni
Kretzmer (Feb. 17th); Darius Jones (Feb. 22nd); andJaimie Branch (Feb. 24th).

Bill Charlap @ & Dee Dee Bridgewater @ Birdland

Dave Sewelson, Michael Vatcher, Steve Swell

The final evening of a four-night stand at Dizzy’s Club F lutist Cheryl Pyle has been leading various iterations
by the Emmet Cohen Trio, during which the pianist
invited various guest horns to play with his working
band of bassist Russell Hall and drummer Kyle Poole,
had longtime colleagues trumpeter Benny Benack III
and saxophonist Ruben Fox featured with the group.
The Sunday night (Jan. 9th) early set got off to a mellow
start with the trio playing a pretty rendition of Burt
Bacharach’s “This Guy’s In Love With You”, recallingthe elegant bluesy stylings of Ahmad Jamal’s units.
Benack and Fox joined for Ellington’s “It Don’t Mean A
Thing (If It Ain’t Got That Swing)”, living up to thetitle with steeped-in-tradition solos, along with Cohen,
who took a boppish pass awash with Monk-ish fills,
after which Poole and Hall had their turns. The quintet
took off with a high-speed rendition of Cole Porter ’s“It’s All Right With Me”, before Fox mellowed themood with a stirring reading of “Danny Boy”.
Benack stepped into the spotlight, singing theGershwins’ “They Can’t Take That Away From Me”
with palpable swagger. The version also featured aPrez-ish Fox solo before the singer ended engaging theaudience in some call-and-response participation. Theband slipped into a Latin-tinged mode for Burton
Lane’s “That Old Devil Moon” on which Cohen pulled
out all the stops with a blazing solo. He then calmed
the wowed crowd with a tender intro to a lively
arrangement of “Round Midnight”. The set concluded
hardbop style with “The Theme”.
(RM)

of the Beyond Group over the years, the first of which
included the late Bern Nix as a full partner in sound.
The band, realized with multi-winds and more, evenwell after the guitarist’s passing, has thrived on the
improvisational boldness of its rotating membership,
crafting complex works with nary a score in sight. A
favorite tool has been the round robin, one member
taking lead and trading statements with each of theothers, calling on the full range of emotion, tradition
and technical mastery to command the moment. Since
the first COVID wave felled performances, Pyle’sorganization has presented its art remotely. This
concert (Jan. 16th) featured not only the leader on altoand standard C flutes, but Haruna Fukazawa on the C
and Gene Coleman on bass flute along with Beyond
regulars vocalist Judi Silvano, soprano saxophonist
Michael Eaton and bassoonist Claire de Brunner. The
members’ listening skills were as ignited as were theirchops as they crafted visions and concepts across town.
Pyle poured out themes at once near Eastern andpsychically faraway as Silvano shaped vocalized
neologisms into tomorrow’s melodies and stinging
riffs. Eaton’s fire raptured and Fukazawa shimmered,piercing the dusk with a hybrid western classical,
traditional Japanese and 20th Century evocations.
De Brunner ’s alternating winged and substratum
forays severed boundaries, as did Coleman’s bass flutein contrast with dazzlingly blue piccolo solos.
(JP)

Jazz Power Initiative’s Open Studio, a free class invoice, dance and theater arts led by pianist Eli Yamin,
vocalist Antoinette Montague and theater director andchoreographer Mickey Davidson, is now open forchildren ages 10-17 and will take place Feb. 17th andMar. 10th, from 4:30-7 pm at United Palace, Broadway
and 175th Street in Washington Heights. For more
information, visit jazzpower.org/youth.
Applications are now being accepted for the DC Jazz
Festival’s DCJazzPrix. Winners will receive a $15,000
cash prize along with a year-long association with the
DC Jazz Festival organization that includes extensive
public exposure, technical assistance, personalized
career development services and a paid engagement
to perform on the main stage at the 2023 DC JazzFest.
To apply by Mar. 31st, visit dcjazzfest.org/dcjazzprix.
The Louis Armstrong House Museum (LAHM) has
launched a new digital guide on the free cultural app
Bloomberg Connects app, making LAHM accessible
for either on-site or offsite visits through photo, audio,
and video features offering insights into the offstage
life of Louis “Satchmo” Armstrong.
Andreas Brandis, who has had operational
responsibility for the business side of ACT Music andled the company’s live management division
Tambour Management as its managing director since2015 has now been appointed as a full partner/shareholder in ACT Music by the company’s founder,
producer Siggi Loch.
Submit news to ahenkin@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 5

STEVE PARENT / COURTESY OF THE ARTISTINTERVIEW

ARTUROSANDOVAL
by mike cobb

Legendary trumpeter Arturo Sandoval was born and raisedin Artemisa, Cuba. He grew up in the countryside in a poorfamily where there was little interest in the arts. A journalist
turned him on to jazz and he became deeply inspired by
Charlie Parker, Clifford Brown and Dizzy Gillespie. By age
12, he was playing trumpet with street musicians. His lifechanged when he met Dizzy Gillespie in Cuba who was
touring the Caribbean. Sandoval emigrated to the USA
under political asylum from Fidel Castro’s regime. Since
then, he has established himself as one of the most highly
regarded trumpeters in the world.
Sandoval has performed and recorded with
Gillespie, Paquito D’Rivera, Tito Puente, Chico O’Farrill,
Irakere, Frank Sinatra, Tony Bennett, Rod Stewart, Dr.
John, Gloria Estefan, Ricky Martin, Alicia Keys and manyothers. He performed with Stevie Wonder at the WhiteHouse, where he was given a Lifetime Achievement Awardby President Barack Obama. Sandoval scores for film andTV and has composed for The Los Angeles Philharmonic,
The Pittsburgh Symphony and the London SymphonyOrchestra. He is also a revered educator and has taught at
Florida International University, Whitworth University,
led workshops at Dartmouth College and elsewhere. We
spoke with Señor Sandoval via Facetime from his homestudio in Los Angeles, California. Lighting a “tabaco” (theCuban word for cigar), he was kind enough to answer ourquestions for this interview.
TNYCJR: How are you staying safe during this time of
Omicron?
AS: You know, you have to take care. I wear my mask
and I’ve got the three vaccines. So far I’ve survived.
I know many people who’ve been infected. I try to stayhome as much as I can.
The New York City Jazz Record: I hope you’ve been
well and keeping busy during the pandemic.
Arturo Sandoval: To be honest, I’ve been composing
every single day and have posted more than 500 videos
of new pieces. Unfortunately, all my gigs have beencanceled. But I keep practicing five hours a day because
I can’t let this pandemic burn my groove. It’s importantfor me to keep learning and trying new things.
TNYCJR: Can you tell me about your upcoming showat Carnegie Hall with the Orpheus Chamber Orchestra?
AS: It’s still scheduled, so I hope it happens! It’s going
to be challenging because I have to play two trumpet
conciertos and another four pieces. It’s going to be avery interesting program. I think we’re going to openwith the “Cuban Overture” by George Gershwin, thenI’ll do a piece and then we’ll do “Andalucia Suite” byErnesto Lecuona, then “A Time For Love” by Johnny
Mandel, then my own tune “Everyday I Think of You”,
which I wrote and dedicated to my mentor and hero
Dizzy Gillespie.

TNYCJR: Have you played Carnegie Hall before?
AS: Yes, a few times. I’ve been lucky. I played therewith Dizzy Gillespie, Tito Puente, The New York
Philharmonic and my own band a few times. Recently,
I played with Alejandro Sanz at Radio City Music Hall.
He’s a very close, dear friend of mine.
TNYCJR: What are some of the challenges working
with an orchestra versus a jazz band?
AS: With classical music, you don’t have as much
freedom as you do with jazz. You have to be very
consistent with the score. But for me, music is all one.
I don’t care who wrote it, when, how or where. If it
sounds good, I’m going to enjoy doing it.
TNYCJR: What other projects are you working on?
AS: I’ve got a new album coming out. The executive
producer is very involved with cryptocurrency and
NFTs [Non Fungible Tokens]. He started releasing
individual songs mainly for people who are involvedin cryptocurrency. In April we’re going to do a full
release. It’s been a smart move because I see niceresults. He knows what he’s doing.
TNYCJR: It must be interesting to see how the musicbusiness has changed this way.
AS: It’s a little complicated for an old man, but when
you see good results I say “Hey, this is good!” It’scompletely new, but you have to go with the flow andlearn new technologies.
TNYCJR: What are some career highlights?
AS: One of the most important things that happened tome was in May 1977 when Dizzy Gillespie, Stan Getz,
Earl “Fatha” Hines and a bunch of other musicians
went to Cuba on a jazz cruise and stopped in Havana
for a few days. That was crucial for me. Meeting myhero Dizzy and becoming close friends changed mylife completely. He gave me so many opportunities bytaking me under his wing, which helped me a lot. He
even helped me with the process of political asylum.
There’s an HBO movie about it called For Love orCountry: The Arturo Sandoval Story. It’s a good movie,well produced with good acting. And it’s a true story.
TNYCJR: It must be very interesting to see your life
told through a movie.
AS: Everybody has their own story to tell, so it was anhonor and a privilege that they told my story. It willserve as a testimony and help my grandchildren know
about my life and my struggle getting to this country.
TNYCJR: What do you keep from Cuba?

6 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD

AS: You know, I’m Cuban and I’m going to die Cuban.
I cannot change that. In Cuba, music is in theatmosphere. There are a lot of very talented musicians.
People are very musical there in general. It’s something
you have had in your blood since you were born.
I hope I never lose that. But since the revolution in ‘59,
the Cuban people have been suffering for 63 years ofa horrible, stupid, horrendous dictatorship. Everythingchanged drastically. To be honest, I never wanted toleave. It’s a horrible feeling to have to escape fromyour home. But I didn’t have a choice. Otherwise, mylife would have been miserable. I grew up extremely
poor in the countryside where nobody was interested
in the arts. I was kind of a hopeless kid. After I moved
to the USA, my life changed completely. I’m so gratefuland give thanks to God everyday. Not just for me but
for my family as well. My son is a successful artist; hedoes animation, painting, sculpture and many kinds ofthings. My wife works in real estate. Over the years
I’ve had the opportunity to work with so many artists
I love and respect. I couldn’t have dreamed it. v
For more information, visit arturosandoval.com. Sandoval
is at Isaac Stern Auditorium at Carnegie Hall with Orpheus
Chamber Orchestra Feb. 19th. See Calendar.
Recommended Listening:• Irakere–Eponymous (Areito–CBS Columbia, 1978)• Dizzy Gillespie/Arturo Sandoval–To A Finland
Station (Pablo, 1982)• Paquito D’Rivera (with Arturo Sandoval)–
Reunion (Messidor, 1990)• Arturo Sandoval–Swingin’ (GRP, 1996)• Arturo Sandoval–Rumba Palace (Telarc, 2007)• Arturo Sandoval–Dear Diz (Every Day I Think Of You)(Concord, 2011)

COURTESY OF THE ARTISTARTIST FEATU RE

MARQUISHILL

For more information, visit marquishill.com. Hill is at Le
Poisson Rouge Feb. 11th. See Calendar.
Recommended Listening:• Marquis Hill–Sounds of the City (s/r, 2012)• Matt Ulery’s Loom–Wake An Echo
(Greenleaf Music, 2013)• Marquis Hill, Jeff Parker, Joachim Florent,
Denis Fournier–Escape Lane
(The Bridge Sessions, 2014)• Marquis Hill–The Way We Play (Concord, 2016)• Marquis Hill–Modern Flows Vol. 2(Black Unlimited Music Group, 2018)• Marquis Hill–Soul Sign Instrumental (s/r, 2020)by jason grossCan an artist be bold and groundbreaking while also

revisiting his past? Trumpeter Marquis Hill is provingthat this just may be possible as he is now operating
in a circular fashion with his career on New Gospel
Revisited, a reimagining of his first album, which cameout 10 years ago.
Born in Chicago in the late ‘80s, Hill grew up ona steady diet of ‘70s soul, which would later manifest
itself in his own music. As he explains, “even to thisday, I feel like that music resonates with me pretty
heavily…there’s a certain sparkle to it. It’s almost
spiritual.” At the start of the new millennium, Hill wasa high schooler already deeply imbued with jazz. Bycollege, he was in the sphere of legendary bassist Ron
Carter and would soon further his lifelong passions ofmusic and education at DePaul University, earning a
Master ’s degree in Jazz Education.
By 2011, he was ready to bring his music into theworld. “I just told myself, ‘I’m gonna challenge myself
to write a set of music, put out a project and once thatlight-switch clicked in my mind, I just got it done. So
I sat down, I remember sitting at the piano, and justgoing through tune by tune by tune. ‘New Gospel’,obviously, it’s the title track. I heard the melody,
I heard the groove and I put it together. And that waspretty much the process: sitting down at a piano andjust really sussing out and working out each one ofthese tunes.” Using a small budget, he assembled agroup of players/friends from the Chi-town area andrecorded in a friend’s studio (housed inside a factorybuilding) in one day, giving it a certain rawness.
Hill decided to go the DIY route and put out New
Gospel as a self-released project in an edition of 500
copies. “I remember being really, really determined toget my music out, get my voice out and I had so manydifferent ideas.” The results spoke for themselves as
Hill showed himself to be an auspicious new playeron the scene, taking the calmness and control of bop
and melding it with elements of soul, making the newsound his own.
That first album also helped him to lay a foundation
for his musical journey. As he explains, “to this day, I’m
grateful for that project, it shaped my sound and mycompositional approach. You listen to all of my projects
after New Gospel and it still has that similar sound.“
The album provided a springboard for Hill’s
rapidly growing and evolving career over the next few
years as he garnered prestigious awards, including
first place in the 2014 Thelonious Monk Institute of
Jazz International Trumpet Competition, and put out
impressive followups: 2012’s Sounds of the City and2013’s The Poet on the Chicago indie Skiptone label.
Soon after, he moved to New York and recorded for the
Concord Music Group (2016’s The Way We Play, part ofthe prize for the Monk competition).
For the next several years, Hill put out pairs of
expansive, complex albums with shades of R&B,
hip-hop and ambient music mostly on his own Black
Unlimited Music Group label and in mainly

instrumental and then vocal/rap versions, including
2014’s Modern Flows, 2017’s Meditation Tape, 2019’s Love
Tape and culminating with 2020’s masterful, Zodiacthemed Soul Sign. By then, he was on a trajectory that
could have taken him anywhere musically.
After an extensive musical journey, how did thisrestless soul find himself coming back to his musicalbeginnings, to rerecord his debut as a live album? Hillsees a dual purpose. “To this day, this first set of music
I composed is one of my favorite sets of music. We
sound young, but we were hungry and we wereinterested in trying to connect. But then if I’m being
honest, I’d say that you can hear how green, how
young we were. A part of me cringes a little bit when
I listen to the original recording. So we get to rejuvenatethat music and bring that set of music not back to life,
but breathe new life into the music. I’m not replacing
the original New Gospel, but a part of me feels likeit’s almost like I get to redeem myself a little bit byputting out this new set of music revisited from 10
years ago.”
For what is his first album for Edition Records,
Hill corralled an impressive group of Joel Ross
(vibraphone), James Francies (piano), Walter Smith III(tenor saxophone), Harish Raghavan (bass) and
Kendrick Scott (drums), with all except Ross being
new collaborators and all, as Hill puts it, “innovative
voices of their generations.” The results speak forthemselves as the recording literally and figuratively
took Hill back home, for a show recorded in Chicago in
December 2019, just weeks before COVID hit theStates. On the album, Hill and the band luxuriate in the
improved sound quality with a tighter dynamic andmore in-your-face feel. While the debut showed theworld a promising voice, now we hear him as theconfident, seasoned veteran he has become.
After a brief, orchestral intro, opener “Law andOrder” is stretched from its original five minutes to aquarter-hour with fiery solos by Hill and Smith,followed by a calming, extended meditative solo from
Ross. “The Believer” now sports a simmering sexylightness at which the original only hinted. The title
track has a breezier quality to it, which leads to aflighty solo from Hill and a skipping, fluid Raghavansolo. The light bounce of “Autumn” is now meditativeand more reflects the changing calm of that time ofyear. Where “A Portrait of Fola” once featured aswinging bounce, it now has a lighter, airier atmospherethanks mostly to vibraphone. Interspersed are a few
brief new tunes added in as standalones for the
bandmembers, including a lovely piece featuring tenor(“Walter Speaks”), a masterful, controlled drum spot(“Oracle”), graceful, chime-like vibraphone (“Lullaby”)
and trumpet sounding alternatively sweet andmournful (“New Paths”).
And what does this closing of the circle of his
debut mean for Hill’s future? “I can check it off my list
and continue on the path that I’m on, with the directionthat I am going.” v

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 7

ON THE COVER

LISTENING IS NOT OPTIONAL
by ori dagan

Living legend Jay Clayton recently celebrated her 80thbirthday in style, gigging at The Jazz Gallery with Ed
Neumeister, Gary Versace, Jay Anderson and Billy
Drummond. As a performer, in-demand educator andbusy collaborator, Clayton juggles it all herself and has
never been in it for the money, prioritizing her heartahead of her bank account for many years. “That’s justthe way it goes with the music I chose, or I guess you
might say, the music that chose me,” she says via Zoom
from her Chelsea apartment. “I never wanted to be
famous, but once I became hooked on this music, I verymuch wanted to sing. I had to. And when I couldn’t get
a gig, I made one up! And that is something I still do tothis day and tell all my students to do it too. Find aplace, make it happen.”
Born Judith Colantone in Youngstown, Ohio, on
Oct. 28th, 1941, she first heard the Great American
Songbook from her mother, whose dreams of beinga big band singer were never realized. “My mothersang as a teen but after she got married, that was that,”
Clayton recalls. “She didn’t know who Billie Holiday
was even though she kind of sounded like her. She
didn’t know what jazz was, because in those days thosewere just the pop songs. So I kind of learned some ofthose standards without even trying. My actual intro tojazz proper happened when my cousin gave me threerecords when I was 17. I remember it crystal clear: Miles
Davis, Ramsey Lewis and Dave Brubeck. I had no idea
who they were or what jazz was but I absolutely loved
it! Then I joined the Columbia Records Club and in
those days they would send you about five or six
records for a penny and you had to check a category:
pop or classical, etc. And, of course, I checked jazz andthat is when I started to listen. I mention this because
LISTENING, like I tell my students, really is the key toall of it. I like to say: ‘Listening is not optional!’ (laughs).
There are no shortcuts to it. So anyway when I put
those records on, I was smitten. I didn’t know I wasgoing to sing it yet, but it had already captured mysoul.” About a year later, her first time on the mic wasin 1959 sitting in with a band at a local dance inYoungstown, finding the courage to sing “Moonlight inVermont” despite her nerves.
To this day Clayton performs and records material
from the Great American Songbook, often shedding
new light on obscure tunes or unearthing novel
approaches to the familiar. Scintillating diction,
consistent connection and an understated delivery
make her a skillful interpreter, but Clayton is more
widely known as a pioneer in the free jazz movement,
moving beyond Tin Pan Alley into uncharted sonicterritory. When singing ‘free’, Clayton’s courageous
scat style explores texture, timbre, rhythm, range,
space and intensity; it clearly reveals her primary
influences of John Coltrane, Miles Davis, Thelonious
Monk and Eric Dolphy. Furthermore, in exploring thepossibilities of the voice beyond scat, she is known as
one of the first vocalists to incorporate poetry and later
the use of electronics, both live and in recordings.
“When it came to the poetry, I was first inspired by
Jeanne Lee and even though I loved the standards andstill do, I think part of it was that I wanted to go deeper
with the messages, I wanted it to be more than justabout love. So I was very drawn and still am drawn
to the work of poets like e. e. cummings and Emily
Dickinson. But back then I was very shy to do it because
it can sound very contrived; it isn’t easy to make itsound natural, speaking somebody else’s words.”
A live set by Clayton will often combine jazzstandards, poetry and singing free. Besides her precise
pitch and percussive vocal delivery, what ties it all
together is honesty and connection with the source
material, her fellow musicians and, in the lucky case oflive performance, the audience.
While Clayton has been performing for over 60
years, it wasn’t until 1980 that she stepped into thestudio as a leader with her debut recording All-Out,
which had Jane Ira Bloom (soprano saxophone), Larry
Karush (piano), Harvie S (bass) and her former husband
Frank Clayton on drums. “I really see recordings as
documentation. You do it, you record it, you move on.
By the time I started recording under my own name,I had already guested on recordings and it actually took
me years to really be able to enjoy that process. For along time I struggled without an audience in the studio,
but after a while, I figured it out.”
Career highlights include guest appearances withprolific minimalist Steve Reich, which proved a raresituation of minimal improvisation and a large touringband; credits on three albums with avant garde composerJohn Cage (John Cage, 1977, Four Walls, 1979 andThree Constructions, 1989); two outings of astounding
a cappella with “Vocal Summit” alongside Bobby
McFerrin, Jeanne Lee, Urszula Dudziak, Lauren Newton,(Sorrow Is Not Forever – Love Is, 1982) and Norma
Winstone and Michèle Hendricks (Conference of the Birds,
1990); and Outskirts, a collaboration of nearly 30 years
with Bloom and recently departed drummer Jerry
Granelli, a musical soulmate with whom she worked for
decades including a fine album in 2014, Alone Together.
Her first of seven releases for the Sunnyside label
was Beautiful Love, a gorgeous straightahead duologue ofwell-known standards with pianist Fred Hersch (1994).
A must-hear (especially with headphones) is Clayton’s
triumphant recording of solo voice and electronics called
The Peace of Wild Things (2007). A good discography
exists on her website, with a handful of titles available
for sale on Bandcamp including Circle Dancing (1996),
Harry Who? (2013), in honor of Harry Warren, andUnraveling Emily (2017), an artful collaboration with Kirk
Nurock with text from Dickinson.
In addition to her achievements as a recording
artist and performer, as an educator Clayton has
nourished literally thousands of vocalists since she
began teaching in the ‘70s. Mostly freelancing now,
she has taught for years at the Vermont Jazz Center
alongside Sheila Jordan, a close friend and frequentcollaborator. As a passionate musician and an honest
communicator, Clayton was a natural to move into
teaching: “Back in the day, people asked me if I teachand initially I said you can’t teach this music, you justhave to go out and listen to it. But then I formed

8 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD

workshops in my loft and I never stopped. The hardest
part about teaching is knowing what they should donext. You can’t put the cart before the horse. You can’t
scat over a tune you have never heard or studied. So it
is my job to figure out what they should do next and ofcourse then to hold them to it. I’m still learning andI’m still getting better. I really love the workshops
because then they learn from each other, too. What
I say to one person is often true for all of us.”
In 1982, Clayton accepted a teaching job at the
Cornish College of the Arts in Seattle. It was hard toleave New York but with her husband and two young
kids, she became a West-Coaster for the next 20 years
until 2002. This job allowed her financial stability as
well as additional touring opportunities with others
who taught at the college, including Granelli, Gary
Peacock, Julian Priester, Jim Knapp and Art Lande.
“When I first started out, I used to say, I will teachuntil I can afford not to, that is, until I could afford to
make a living from performing. Many years ago
I realized that would not be the case. I will never stop
teaching, I will never replace it with performance.
However, the performance is where I learn. I formed
the Scat Lab originally because I found that singers
don’t know how to work on it. Back in the day, sitting
in is how I learned and it wasn’t easy back in thosedays when I was starting out to sit in as a singer. It was
hard to be taken seriously as a musician and I got hit
on a lot, but I was driven, no matter how nervous I felt,
to sing and to grow. I always waited all the way until
the end of the gig and then after I sat in, if I got asked
to sing a second tune, I knew it went okay. But now,there aren’t really a lot of sessions anymore. There areopen mics now, but not so many sessions where you
can just jump in. As teachers it is important that we
make an environment for learning. In my workshop
I introduce singers to free music and a lot of them are
surprised by how much they enjoy it. When you’resinging free you really have to connect to the music
and to the moment that we all share together.”
Reflecting on her 80 years on this planet, Clayton
counts herself lucky to have had so many rewarding
musical experiences. “One thing happens after the
next. We look back and we call it coincidence, but it isnot. Wisdom is knowing what to do next.” v
For more information, visit jayclayton.com. Clayton is at
Roulette Feb. 20th. See Calendar.
Recommended Listening:• Marc Levin Ensemble–Songs Dances and Prayers(Sweet Dragon-Centrifuga, 1972)• Jay Clayton–All-Out (Anima Productions, 1980)• Jay Clayton, Julian Priester, Jerry Granelli,Gary Peacock–Quartett: No Secrets (New Albion, 1988)• Fred Hersch/Jay Clayton–Beautiful Love
(Sunnyside, 1994)• Jay Clayton/Fritz Pauer/Ed Neumeister–
3 For The Road (MeisteroMusic, 2001-2)• Jay Clayton/Jerry Granelli–Alone Together(Sunnyside, 2014)

COURTESY OF THE ARTISTJAY CLAYTON

WED. FEB 16 • 7PM

LEZLIE HARRISON
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FOR FREE TICKETS

WED. MAR. 16 • 7PM
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COURTESY OF THE ARTISTENCOREED
NEUMEISTER
by steven loewy

Ed Neumeister may just be the best jazz trombonist

you never heard. The softspoken Neumeister, with his
stylish white goatee and almost shoulder-length mane,presents a striking image. With technique that takes
the trombone to new heights and a flair for playing awide range of styles, Neumeister has built a career as a
top-flight composer, arranger, improviser and teacher.
Raised in San Francisco, he settled in New York in
1980 and relocated to Austria in 2000 after accepting afull professorship at the University of the Performing
Arts in Graz, a position from which he retired in 2017.
He returned to New York permanently in 2017 torecharge his career in the States, where he also currently
teaches classes at New York University, The New School
for Social Research and William Paterson University.
Over the course of a long career, Neumeister has
distinguished himself as a total musician, one who has
mastered the trombone and the tools of composition.
He learned early on to play a wide variety of styles andis respected by the best jazz, commercial and classicalplayers. When asked how he maintains almost perfecttechnique for the diversity he embraces, Neumeister
said that “nobody told me it was difficult to do that. My
formal background is classical, but I have been doing
everything, which seemed like the natural thing.”
Contrasting Neumeister ’s relative anonymity withthe splash trumpeter Wynton Marsalis made when the
he burst on the scene with an ability to play both jazzand classical music at high levels, Neumeister
recognizes that it is not easy getting publicity as atrombonist: “Unlike the trumpet and saxophone, thetrombone does not have as high a profile.” While livingin Austria was wonderful for him personally andartistically, it dampened his visibility in the UnitedStates. Producer Michael Cuscuna presciently told him
after his move, “…moving to Europe would notenhance his career.” He also told Neumeister that his
writing would give Third Stream music “a good name”.
Neumeister maintains a vigorously disciplined
schedule: “I try to write almost every day. Generally,
I’m up between 5 and 6 am, when I compose, with abreakfast break around 9.” He then practices histrombone for one or two hours, exercises and tries tosqueeze in more composing. Neumeister has graduallyshifted his focus during the last two decades toward
greater composing and arranging, something reflected
in his recordings. “I improvise as a composer whose
instrument is the trombone and not as a trombonist
improviser. The result is that the focus is on pure musicas opposed to ‘trombone music’.”
Neumeister has had a number of notable recent
albums. What Have I Done?, with longstanding quartet
of Gary Versace (piano), Drew Gress (bass) and Tom
Rainey (drums), combines quirky melodic lines, odd
meters, adventurous solos and intricate arrangements
in a surprisingly accessible setting. “These are allcolleagues who I have played with for many years. Not
that many musicians can navigate complex notatedmusic and also swing and improvise freely at the sametime the way these guys do.” 3 for the Road, a deeply
emotional, often thrilling album with vocalist Jay
Clayton and pianist Fritz Pauer, was recorded inAustria in 2000-2001 but not released until 2020. It islovely, combining an eclectic selection of tunes andtight playing. Alone Together, released in 2021, is a duowith talented Austrian guitarist Karl Ratzer, in which
the two navigate mostly standards. Neumeister ’s
lengthy solo on “Body and Soul”, with electrifying useof mutes, sets a new standard for the piece. One andOnly offers an incredible display of range, compositional
skills and techniques that sets the bar for solo trombone
albums, as Neumeister leads the listener in an exquisite
display of talent in a mostly live performance that wasnamed a Concert of the Year in this gazette in 2017.
Speaking to the divisions of our time and how the
jazz community can help to heal us as a nation,
Neumeister formed “a diverse and inclusive orchestra”
he calls Assembláge. He explains that “in these days,

more than ever, we need to come together as a humanity.
Music can be the metaphor for life when people fromdifferent backgrounds and sensibilities act as one voicewith each of the individual voices contributing theirown musical personality into the common goal of themusic of the moment, whether in an improvisatory or
notated context.” He describes the music he is preparing
for the orchestra as “wide-scope: Schoenberg meets
Monk meets Sun Ra, with a little Lutosławski and James
Brown thrown in for spice.” By focusing on racial,ethnic and gender diversity, Neumeister hopes his
orchestra will contribute to the healing so many desire.
The orchestra started rehearsing in the summer of 2019,with one rehearsal in spring 2020 before the pandemic
halted its plans. The world debut of Assembláge isscheduled for April 2022 at Birdland. Neumeister is
now busier than ever, always broadening his abilities:“Lately, I have been focusing on extended techniques,
mostly multiphonics, and expanding sonic horizons,
while exploring new colors. I just finished a piece forsymphony orchestra, with a jazzy feel. I’ve actually
written more than one hundred compositions andarrangements for jazz orchestra.”With years of experience, boundless energy anddiscipline and a passionate intensity, this may be thebreakout year for Neumeister, a man with a mission,
with high hopes for a major comeback in New York as
he prepares his next course of action. v

he played with trumpeter Mark Charig in Long John
Baldry’s band Bluesology, whose piano player
borrowed Dean and Baldry’s first names to start a
career as pop singer under the name of Elton John.
Later in the ‘60s Dean, Charig and trombonist Nick
Evans first joined Keith Tippett’s sextet and later Soft
Machine. Around this time, Dean picked up the saxello,
a 1920s straight soprano with a slightly curved neckand tipped bell that Roland Kirk made famous, making
his sound even more recognizable.
Soon after Charig and Evans left, Dean was part ofSoft Machine’s iconic lineup alongside drummer
Robert Wyatt, bassist Hugh Hopper and keyboard
plater Mike Ratledge, recording the pathbreaking Thirdand Fourth (1970) and Fifth (1971-72) albums as well as
many radio sessions and tours yielding later archival
albums. Dean’s voracious appetite for broadening hismusical horizons was “instrumental in the evolution of
the group towards more improvised forms,”
Domancich recalls, pushing from a pop song-inclined
band to a more typically experimental Canterbury
ensemble. In this context, Dean’s contributions on the
Fender Rhodes inspired by a certain minimalism
should not be overlooked.
While with Soft Machine, Dean formed his firstjazz group with bassist Neville Whitehead anddrummer Phil Howard, recording his eponymous
debut for CBS in 1971. During the same period, he also
played with Barry Guy’s London Jazz Composers’

Orchestra and Keith Tippett’s 50-piece Centipede.
After leaving Soft Machine in 1972, Dean embraced theLondon-based South African musical diaspora, playing
with bassist Harry Miller and drummer Louis Moholo
and joining pianist Chris McGregor ’s Brotherhood ofBreath, with which he toured Europe for two years. In
January 1975, he launched his large ensemble
Ninesense, which included many of the British jazzscene’s most talented musicians, including old pals
like Tippett, Charig, Evans, Miller and Moholo. He
also formed his own quartet, EDQ, with Tippett,
Moholo and bassist Chris Laurence, recording They All
Be On This Old Road live in 1976, which has been
recently reissued in an expanded version and isreviewed in this month’s issue [see pg. 29]. This is a
striking recording, since it sums up Dean’s main
influences and experiences to date as well as theempathy within the quartet. It also provides a rather
rare opportunity of hearing Dean interpreting jazzstandards such as Jimmy Van Heusen’s “Here’s That
Rainy Day” and John Coltrane’s “Naima,” showcasing
his often overlooked lyrical side.
Around the same time he co-led El Skid withfellow saxophonist Alan Skidmore—the two of themhad met in the late ‘60s at the Little Theatre Club run
by John Stevens. Skidmore, who was also part ofNinesense, Centipede and Brotherhood of Breath,fondly remembers Dean’s speaking of his early
					(CONTINUED ON PAGE 13)

For more information, visit edneumeister.com. Neumeister
is at Roulette Feb. 20th with Jay Clayton. See Calendar.
Recommended Listening:• Noel Jewkes And The Dr. Legato Express–
Just Passin’ Thru (Revelation, 1977-78)• Vanguard Jazz Orchestra–Lickety Split(Music of Jim McNeely) (New World, 1997)• Jim McNeely Tentet–Group Therapy(OmniTone, 2000)• Ed Neumeister–Suite Ellington (PAO, 2010/2015)• Ed Neumeister–One and Only (Trombone Solos)(MeisteroMusic, 2015-16)• Ed Neumeister Quartet–What Have I Done?
(MeisteroMusic, 2021)

LEST WE FORGET

ELTON
DEAN
by marco cangiano
16 years after his untimely passing, British saxophonist

Elton Dean (Oct. 25th, 1945-Feb. 8th, 2006) remains a
much-underrated artist. Very little has been written
about him in spite of a prolific career bridging traditional
jazz with improvised music and what was loosely
defined as the Canterbury scene, a unique mix ofprogressive pop, early new age and jazz rock. He mademore than 100 recordings, two-thirds of which he either
led or co-led or which are attributed to ensembles ofwhich he was a leading figure. He was an original
whose tone and phrasing are immediately recognizable
and could sound concurrently lyrical and emotional aswell as explosive. As put by French pianist Sophia
Domancich, one of Dean’s main musical partners in thelatter part of his career, “there was always a moment
when you wanted to stop playing and listen to him.”
After studying piano and violin at a very earlyage, Dean switched to the alto saxophone in his lateteens and became interested in jazz. In the mid ‘60s,

10 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD

L ABEL SPOTLIGHT

WE
INSIST!
by jim motavalli
The Italian independent jazz label We Insist! wasnamed for Max Roach’s landmark Candid recording,
subtitled Freedom Now Suite, but don’t expect recordingsof American expatriates in Europe. It is home forhomegrown Italian talent. Since the launch in 2018, thelabel has issued 16 albums.
According to Anna Harwell Celenza’s Jazz Italian
Style, “When jazz arrived in Italy at the conclusion ofWorld War I, it quickly became part of the local music
culture. In Italy, thanks to the gramophone and radio,
many Italian listeners paid little attention to a
performer ’s national and ethnic identity.” That meant
Louis Armstrong had equal footing in Italy withhomegrown stars like Gorni Kramer. Today, Italian jazzstars such as trumpeter Enrico Rava, vocalist Roberta
Gambarini and saxophonist Stefano di Battista are wellknown, but up-and-comers like Francesco Diodati(guitar), Marco Colonna (clarinet and sax), Paolo Botti(viola and banjo) and Matteo Bortone (bass) haven’t
been on the radar as much in North America.
We Insist! is out to change that. It is a musicians’label, formed by a group of multi-talented friends:
flutist Maria Borghi is the graphic artist and illustrator;
veteran clarinetist Giancarlo “Nino” Locatelli is thelabel’s artistic director; guitarist Gianmaria Aprile acts
as sound engineer and record producer; and clarinetist
Pietro Bologna is the photographer. The varied
backgrounds “stimulate us to conceive and realize

From Here From There
Giancarlo Nino Locatelli/Alberto Braida

Cats in the Kitchen
Braida/Bolognesi/Calcagnile

projects of wide scope, within which we can create
new partnerships,” the collective says.
The music is quite varied. Locatelli is heard in duo
format on From Here, From There (with Alberto Braida on
piano) and the influence of soprano saxophonist SteveLacy, who spent time in the mid ‘60s in Italy,
is prominent (two albums on the label, Locatelli’s
Situations and Pipeline 8’s Prayer, feature his music). But
Eric Dolphy is definitely in there, too, as well as Jimmy
Giuffre. From Here, From There is challenging andprogressive, but highly melodic. If you liked Dolphy’s
playing on Mal Waldron’s The Quest, you will love this.
Braida is heard in trio format on Cats in the Kitchen(with bassist Silvia Bolognesi and drummer Cristiano
Calcagnile) and it swings with a gentle, Monk-ish
touch. On the other hand, clarinetist and soundscapeartist Paolo Gaiba Riva’s Expeditions—recorded allover the world with different collaborators—uses a lotof found sounds and is bracingly avant garde. Italian
jazz is varied, and so is the label.
But it is all committed music. Writing in the July
2021 issue of this gazette, Tom Greenland said theplayers on Pascal Contet and Joëlle Léandre’s fourth
duo album, Area Sismica, “spiral over and under eachother like a musical double helix.”
Locatelli says he started talking about We Insist!
with Borghi in 2012. “It took a few years to clarify thepath we wanted to take,” he said. “It was born from
Maria’s strong determination to support and spreadmy music and the music of musicians who, like me, forvarious reasons are on the sidelines or risk ending up
there.” The label’s philosophy, he added, “is to try anddo things in the time they need, taking care of all thedetails. But above all to live each project as a collective

Area SismicaJoëlle Léandre

work.” The collective identifies with Roach’s work inpart because it was issued by a label, Candid, unafraid
to release challenging, politically conscious work. Both
Roach and Charles Mingus, who also recorded for
Candid, had been part of the Newport Rebels groupthat organized an alternative to the mainstream
Newport Jazz Festival in 1960. Locatelli described thefounding of an independent label as “a militant,political act, an act of resistance against the mercantile
music industry.” Incidentally, the Candid records—
many of them classics—will also be rereleased as thelabel relaunches. Expect a profile here later in the year.
As to what is on the label, Locatelli says he doesn’tlike the term avant garde “because it assumes there’sa rear-guard.” He prefers Monk’s quote, “You’ve got to
dig it to dig it, you dig?” To which he adds, “I likediggers, even if they dig in places I personally would
never go… What matters is where you arrive, notwhere you start from.”
Given the photographer and illustrator involved,
it is not surprising that the album covers are visuallystriking, but also quite varied. ECM packages may
have a recognizable look, but We Insist! has a variety ofarresting approaches to visualizing the music. Speakingof diggers, maybe the crate variety will see the colorful
covers and decide to investigate the music within.
Six releases are planned for 2022, ranging from projects
with 10 musicians to a solo work by trombonist Sebi
Tramontana. 7 Rocks is a duet with Locatelli andbassist Enrico Fazio and another release features
trumpeter Gabriele Mitelli’s trio with the British
rhythm section of John Edwards and Mark Sanders.
For more information, visit weinsistrecords.com

Situations
Giancarlo Nino Locatelli

Prayer
Pipeline 8

VOXNEWSLOVE
LINES
by suzanne lorge
Singer Maria Hawkins—who sang under the name

Maria Ellington—fronted many notable swing bands inthe ‘40s. Count Basie, Fletcher Henderson and Duke
Ellington all courted her talent. She was opening for The
Mills Brothers as a solo act at Club Zanzibar in Manhattan
in 1946 when she met Nat King Cole, who had beencalled in to sub for the popular quartet. Two years later,
the two were married by Congressman Adam Clayton
Powell, Jr. at Harlem’s famed Abyssinian Baptist Church.
The couple’s daughter, Natalie Cole, born 72 years ago
this month, deserves enormous credit for the revival of
the Great American Songbook in the ‘90s. Her 1991
album Unforgettable…With Love (Elektra) featured wellover 150 studio musicians on 22 standards popularized
by her father decades earlier, going on to take top honors
in a brand new Grammy category in 1992: Best Traditional
Pop Vocal Performance. The chart-peaking hit from thatrecord—Natalie’s duet with her late father on a digital
version of his 1952 single “Unforgettable”—would
endure not only as one of the decade’s most popularsongs, but as a technological game-changer. This month,
to mark the 30th anniversary of this multi-platinum
phenomenon,
Craft
Editionsisre-releasing

Unforgettable…With Love in multiple formats—including
a two-LP vinyl set in ‘90s purple. After Unforgettable…
With Love, Cole would turn out many more studioalbums affirming her appreciation of all things Songbook,without ever fully returning to the R&B pop tracks that
had earned her fame in the ‘70s-80s. In 2008, she recorded
Still Unforgettable (DMI/Atco), featuring “Walkin’ My
Baby Back Home”, another virtual duet with her father.
Natalie, who passed away in 2015, would earn her final
Grammy for this record, her second in the Best Traditional
Pop Vocal Performance category.
Singer Catherine Russell, too, descends from twoconsequential jazz figures: Her father, pianist Luis
Russell, worked as Louis Armstrong’s musical director
for years and her mother, Carline Ray, made history as a
vocalist and instrumentalist with the revolutionary
band, International Sweethearts of Rhythm. Russell isan undeniable talent in her own standing, too, withcredits that extend from backup vocalist for scores of
big pop acts to her own acclaimed solo releases and a
Grammy for her work on the soundtrack album for the
HBO-TV series, Boardwalk Empire. Russell’s latest album,
Send For Me (Dot Time), takes as its title cut a hefty blues
track that Nat King Cole recorded in 1957. In a filmed
performance from that time, Cole describes it as his“first contribution to the rock-and-roll repertoire”,
before citing sales of half a million in one week. Russell
approaches the tune differently, with more drag and an
intuitive leaning toward traditional blues. Her deep

voice, both familiar and reserved, wraps each syllable ina subtle warmth—it is a refreshing take on this classic.
This month at Birdland, Russell will celebrate Valentine’sDay, Mardi Gras and the album’s impending launch,slated for April. She plays with her septet on Feb. 14th
(Valentine’s Day for Lovers) and Feb. 15th (New Orleans
Carnival); in trio formation with Carolyn Leonhart and
LaTanya Hall, her fellow vocalists from Steely Dan, on
Feb. 16th (The Danettes Valentine); goes solo with thequartet on Feb. 17th (An Intimate Valentine); andpresents the album release concert on Feb. 18th-19th. On
Feb. 28th, she appears at The Atlantic BKLN with StevenBernstein’s Millennial Territory Orchestra, recreating
her dynamic performances from the group’s January
release, Good Time Music (Community Music, Vol. 2).
Gregory Porter will present his annual Valentine’s
Day concert at the Kings Theatre (Feb. 12th), withguests Kurt Elling and Samara Joy. Dianne Reeves
takes to Jazz at Lincoln Center ’s Rose Theater with
“Let’s Fall In Love” (Feb. 11th-12th). Svetlana’s Big
Band offers a Special Valentine’s Day Eve Show at
Birdland (Feb. 13th). And Samara Joy sings standards
on the day of love itself at Dizzy’s Club.
Sachal Vasandani claims several gigs this month—at The Django (Feb. 16th), Mezzrow (Feb. 27th) andDizzy’s Club (Feb. 28th). His Edition label mate
Gretchen Parlato headlines Blue Note (Feb. 21st-23rd).
And the extraordinary Meshell Ndegeocello kicks off
her Symphony Space residency on Feb. 24th. v

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 11

IN MEMORIAM

BARRY
HARRIS
by andrey henkin

Barry

Harris, pianist, educator and National
Endowment for the Arts (NEA) Jazz Master, died Dec.
8th, 2021 of complications from COVID-19 at 91. He
had given his last public performance on Nov. 12th,
2021 at Flushing Town Hall as part of the venue’s
annual NEA Jazz Masters celebration alongside Jimmy
Owens, Kenny Barron, Sheila Jordan, Billy Hart andDonald Harrison.
Harris was born Dec. 15th, 1929 in Detroit. He
began playing piano at age four and credited the city’s
school system for its emphasis on music. Among his
friends and colleagues were future fellow legends
Kenny Burrell, Tommy Flanagan and Hank, Thad andElvin Jones. His formative influences were Bud Powell
and Thelonious Monk. Speaking to this gazette in 2006,of the former he said, “He was the best one of all ofthem as far as this music was concerned.” Of the latter,
he remarked, “Monk was an individual...his solos
weren’t like anybody else and his songs weren’t likeanybody else.” Harris began his professional career inhis hometown but, like most, eventually moved to
New York. In 1956, he undertook a tour with Max
Roach, subbing for Powell’s younger brother Richie
who had died in a car accident.
During his eight decades of playing Harris madeover two dozen albums for Argo, Riverside, Prestige,
MPS, Xanadu, Uptown, Concord, Candid, Enja, Alfa
Jazz, Reservoir and other labels and was a valued
sideman with Cannonball Adderley, Joshua Breakstone,
Charlie Byrd, Donald Byrd, Al Cohn, Sonny Criss, Art
Farmer, Terry Gibbs, Benny Golson, Dexter Gordon,
Johnny Griffin, Coleman Hawkins, Louis Hayes, Jimmy
Heath, Buck Hill, Illinois Jacquet, Eddie Jefferson,
Carmell Jones, Thad Jones, Sam Jones, Clifford Jordan,
Lee Konitz, Harold Land, Yusef Lateef, Warne Marsh,
Earl May, Charles McPherson, Billy Mitchell, Hank
Mobley, James Moody, Frank Morgan, Lee Morgan, Sal
Nistico, Dave Pike, Sonny Red, Red Rodney, Jack
Sheldon, Sonny Stitt, Don Wilkerson and others.
From the ‘80s onwards, Harris became known asan educator through his weekly workshop in which hementored many generations of future players. As towhat he taught, Harris said, “How to improvise. That’s
the biggest challenge. I want [students] to be proficienton their instruments. ...You have to find a way to teachall this kind of stuff. It’s hard. ...They have to have themeans and the means is the technique. You have tohave that. [I’m not] really teaching bebop or something
like that. I’m just trying to teach how to improvise.”Harris was named an NEA Jazz Master in 1989. Hereceived the Presidential Award from the International
Association of Jazz Educators in 1995, received a
Congratulatory Letter from the White House for his
work in 1998 and was inducted into the American Jazz
Hall of Fame in 2000.

HARRY COLOMBY (Aug. 20th, 1929 Dec. 25th, 2021) Though working incinema later in his career, the thenhigh-school-aged jazz fan (younger
brother to Signal Records founder Jules
Colomby) became Thelonious Monk’s
manager at the pianist’s request from
1955-69. Colomby died Dec. 25th at 92.

ROHN LAWRENCE (1961 - Dec. 30th,2021) The guitarist had credits under
Najee, Norman Connors, Lonnie Liston
Smith, Will Downing, Boney James,
Nestor Torres, André Ward, Bob Baldwin,
Art Sherrod, Jr., Marion Meadows andRick Braun and mid ‘90s albums on
Atlantic and Jazzateria. Lawrence died Dec. 30th at 60.

PEDRO GONÇALVES (??? - Dec. 4,2021) The Portuguese bassist worked
with Paulo Curado, Lisbon Improvisation
Players and Mikado Lab, co-founded
Dead Combo and had credits as arecording engineer for Creative Sources.
Gonçalves died Dec. 4th at 51.

DON PALMER (Apr. 9th, 1939 - Dec.
17, 2021) The Canadian saxophonist
had credits under Tito Puente and Lee
Konitz in the ‘70s and then Paul Cramin the new millennium to go along withmembership in Alive and Well and theBenghazi Saxophone Quartet in the‘90s, plus a co-led release with Tim Cohoon, Joe Sealy
and Skip Beckwith in 1976. Palmer died Dec. 17th at 82.

JOHN HEARD (Jul. 3rd, 1938 - Dec.
10th, 2021) The bassist was active sincethe ‘60s, working with George Duke,
Cal Tjader, Azar Lawrence, Luis Gasca,
Joe Henderson, Moacir Santos, Airto
Moreira, Ahmad Jamal, Harry “Sweets”
Edison, Count Basie, Lew Tabackin,
Kenny Burrell, Toshiko Akiyoshi, Oscar Peterson,
Shelly Manne, Nick Brignola, Bill Watrous, Ira Sullivan,
Zoot Sims, Tete Montoliu, Clark Terry, Harold Land,
Gene Harris, Lou Levy, Pharoah Sanders, Eddie“Lockjaw” Davis, Claude Williamson, Joe Williams,
George Cables, Calvin Keys, Bud Shank, Bobby
Hutcherson, Louie Bellson, Gary Foster, Mike
Campbell, Benny Carter, Frank Strazzeri and manyothers along with albums as a leader or co-leader for
ITI and Straight Ahead. Heard died Dec. 10th at 83.
SANDRA JAFFE (Mar. 10th, 1938 - Dec.
27th, 2021) The jazz champion co-founded
New Orleans Preservation Hall in 1961
with her husband, which has been a
crucial venue for presenting traditional
jazz and the site of recordings by Jim
Robinson, Percy Humphrey, Chris Barber
and the club’s own Preservation Hall Jazz Band, currently
run by Jaffe’s son Ben. Jaffe died Dec. 27th at 83.
HAKIM JAMI (??? - Dec. 19th, 2021)
The Detroit bassist and tuba player had
three new millennium recordings forhometown label Reparation after workin the ‘70s-80s with Ted Daniel, Archie
Shepp, Don Cherry, Hilton Ruiz,
Kalaparusha Maurice McIntyre, Sun Ra
and Roland Alexander, as well as more recent credits
with Salim Washington and Anthony Braxton. Jami
died Dec. 19th at ~80.
ANDY KAUFMAN (Oct. 5th, 1945 - Dec.
14th, 2021) The music industry
professional was the booker for both Blue
Note (1989-95) and Birdland (1995-2005)
clubs, managed Kevin Mahogany andproduced Cachao and Grupo Folklorico
Y Experimental Nuevayorquino albums
for Salsoul. Kaufman died Dec. 14th at 76.
WALTER LANG (1961 - Dec. 16th,2021) The German pianist worked with
Rick Hollander, Beate Kittsteiner,
HaraldRüschenbaum,
Johannes
Herrlich, Jason Seizer, Adrian Mears,
Jenny Evans, Thomas Faist, Lisa
Wahlandt, Wolfgang Lackerschmidt,
Duško Gojković, Don Menza and others, was a memberof Full Moon Trio and Trio Elf and had albums under
his own name for Double Moon, Chitei, Nagel Heyer,
Stomp, Pirouet, Jawo, M&I, Atelier Sawano, Enja and
ACT, including two co-led with Lee Konitz. Lang died
Dec. 16th at 60.

12 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORDIDANG RASJIDI (Apr. 26th, 1958 Dec. 4th, 2021) The Indonesian pianist
worked with Ireng Maulana, Benny
Mustapha and Benny Likumahuwa,
co-led a group with Indra Lesmana andco-founded the Jakarta All Stars andTrigonia. Rasjidi died Dec. 4th at 63.
OSCAR LÓPEZ RUIZ (Mar. 21st, 1938
- Dec. 24th, 2021) The Argentine
guitarist and composer (and brother tobassist Jorge López Ruiz) was in Astor
Piazzolla’s group from 1961-86 and also
worked with Sergio Mihanovich, Lalo
Schifrin, Dino Saluzzi, Gato Barbieriand others and would go on to compose for numerous
films. López Ruiz died Dec. 24th at 83.
MASAHISA SEGAWA (1924 - Dec.
29th, 2021) The Japanese critic produced
releases by Toshiko Akiyoshi, Sadao
Watanabe, Nobuo Hara, Toshiyuki
Miyama and others and wrote liner
notes for Columbia, Takt, Express,
Denon, East Wind, Yupiteru, Electric
Bird, Three Blind Mice, Sony, Eighty-Eight’s and manyother labels. Segawa died Dec. 29th at 97.
ROBBIE SHAKESPEARE (Sep. 27th,
1953 - Dec. 8th, 2021) The Jamaicanbassist was best known as half of the
reggae duo Sly & Robbie, who
collaborated with Monty Alexander,
Nils
PetterMolvær,Meshell
Ndegeocello, Manu Dibango, Kazumi
Watanabe, Barry Adamson, Michael Colina, Bernie
Worrell and others. Shakespeare died Dec. 8th at 68.
LEIF STRAND (Jun. 7th, 1942 - Dec. 1st,2021) The Swedish composer, conductor
andsaxophonist
incorporated
compatriot jazz musicians, such as Arne
Domnérus, Bengt Hallberg, Rune
Gustafsson, Georg Riedel, Egil Johansen,
Putte Wickman, Lars Danielsson andothers plus vocal choirs into his works, recorded for
His Master’s Voice, Interdisc, Proprius, Europa Film,
Air and Earmeal. Strand dued Dec. 1st at 78.
GREG TATE (Oct. 14th, 1957 - Dec. 7th,2021) The journalist and guitarist
published cultural criticism essays onmusic and Black culture, wrote for the
Village Voice and other publications,co-founded the Black Rock Coalition,
led the Burnt Sugar band and wrote
liner notes for albums by Charles Tolliver, Meshell
Ndegeocello, David Gilmore, Josh Roseman, William
Parker and others. Tate died Dec. 7th at 64. v

(LEST WE FORGET CONTINUED FROM PAGE 10)
musical influences such as Charlie Parker and Eric
Dolphy and his knack for writing interesting and quitedemanding compositions. He also remembers thecollegial atmosphere of that period in London withmost musicians playing in the same groups, recording
in local studios during the day and flying to thecontinent for evening concerts. That camaraderie wasevident in the early ‘90s when Dean joined the
Dedication Orchestra, an ensemble formed in tribute to
the exiled South African musicians who were at the coreof the original Blue Notes and Brotherhood of Breath.
In the ‘80s, Dean’s pace slowed down, largely due
to health issues; both Skidmore and saxophonist/
bagpiper Paul Dunmall, who was one of his closer
musical partners and friends, recall how “few could
keep up with Elton’s drinking.” Toward the end of thedecade, Dean reconnected with the Canterbury circle
and joined Phil Miller’s In Cahoots and later Pip Pyle’s
L’Equip’Out, staying in both for more than a decade. In
addition to his Unlimited Saxophone Company, he also
reformed the EDQ, recording Silent Knowledge in 1995
with Domancich, Dunmall, bassist Paul Rogers anddrummer Tony Levin, and established a new large jazz
ensemble, Newsense. In keeping with his musicalappetite, Dean also became a much sought-after player
and composer on the international scene, participatingin groups such as the Anglo-Italian Quartet andtrumpeter Dennis Gonzalez’ Dallas-London sextet.
Most of these collaborations, including the ones withtrombonist Roswell Rudd and Hopper, were maintainedon an on-and-off basis as his health allowed.
Starting in the late ‘90s, Dean eventually embraced
his Soft Machine legacy through a number of groups—
Soft Machine Legacy, Soft Works, Soft Bounds, Soft
Mountain, Soft Heap—many of which featured former
members such as Hopper, guitarist John Etheridge anddrummer John Marshall, along with his old friend
Tippett. Of note are Soft Works, which recorded
Abracadabra in 2003, and Soft Bounds—Dean, Hopper,
Domancich and drummer Simon Goubert—recording
live at the Parisian club Le Triton in 2004. These werenot, however, cover bands revisiting Soft Machine’s
original material but rather attempts at picking up themusical evolution where Fourth and Fifth had left off.
As Domancich recalls, “he never had nostalgia for theSoft Machine period.”
As his albums continue to be reissued and live
recordings discovered, Dean will hopefully graduate
from the ‘unsung hero’ category. As eloquently put inJohn Fordham’s obituary from The Guardian: “Dean’s
playing sounded fresh and familiar at the same time.
He could move easily between a muscular, song-based
orthodoxy and unpremeditated improvisation and his
bitter-sweet sound and twisting, eager melody lines
broadened the emotions of every band he played in.”
Dean lived his music intensely to the point ofoverlooking any commercial aspects. In one of his rareinterviews, he stated that “the best way to experience
jazz is in a live situation; to me it just doesn’t work as
studio music.” Dunmall sums it up rather well: “Eltonat heart was an improviser but had his ears open to allmusic…he always had his own sound and voice inwhatever style of music, be it free improvised jazz or
jazz rock you could always tell it was Elton.” v
Recommended Listening:• Soft Machine–Third (CBS-Columbia, 1970)• Elton Dean Quartet–They All Be On This Old Road

(The Seven Dials Concert) (Ogun, 1976)• Soft Heap–Eponymous (Charly, 1978)• Dennis Gonzalez Dallas-London Sextet–Catechism(The Names We Are Known By) (DAAGNIM, 1987)• Elton Dean, Paul Dunmall, Tony Levin, Paul Rogers,

Roswell Rudd, Keith Tippett–Bladik (Cuneiform, 1996)• Soft Works–Abracadabra In Osaka (MoonJune, 2003)

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 13

ALBUM REVIEWS

Koi (Scoring & Performing The Music of Tim Berne)
Gregg Belisle-Chi (Relative Pitch)
Mars
Tim Berne/Gregg Belisle-Chi (Intakt)
by George Grella

Echoes of the Masters
Taru Alexander (Sunnyside)by Monique Ngozi Nri

Tim Berne is, for most jazz fans, primarily thought of Saxophonist Roland Alexander once confided on a

as a saxophonist, improviser and bandleader and only
secondarily as a tunesmith or composer. But the qualityof his groups and records comes directly out of his
composing and though that may be subsumed for a lotof listeners, musicians hear it. In 2017, Matt Mitchellreleased FØRAGE, piano interpretations of Berne’s
pieces, and now comes Gregg Belisle-Chi with thebeautiful Koi, Berne played on solo guitar.
Stripped down and especially with the limited
sustain of the guitar, it is easy to hear all the facets andsophistication in the pieces. Berne doesn’t produce
song-like melodies as he crafts pithy, but meaty phrases
and sets them into chord changes and harmonic
rhythms that outline both clear form and keep a strong
tonal center. They are also full of details and quirksthat set them apart from both standard song form andalso the kind of liminal forms that often stand in fora highly improvisational concept of composition.
Berne was an acolyte of Julius Hemphill, but hiscomposing also reminds one of Wayne Shorter; notthat Berne’s material follows Shorter, but in taking his
own oblique pared-down path to making pieces that
improvisers will play. “Reception”, for example,
sounds at first like a response to two different
Thelonious Monk tunes, then turns both inward
structurally and outward harmonically. Berne’s musicis like Doctor Who’s TARDIS, bigger on the inside.
To say that Belisle-Chi plays this stuff well is anunderstatement. His technique is excellent and it
sounds like he is caressing the music. The recording
quality is superb and meaningful in that the guitarist
is solo but doesn’t sound alone, the space and reverbaround his instrument sounds like an accompaniment.
Hearing Berne so stark yet glowing is frequently amoving experience.
Belisle-Chi has a concentrated gentleness thatpairs superbly with Berne on Mars. They are an oil andvinegar mix and the guitarist brings out the depth ofbeauty and feeling in Berne’s more questing, agitatedapproach. He also does something strange to the tune
names. Berne favors acerbic titles like “Rose Bowl
Charade” and “Middle Seat Blues”; reading this primes
the mind for one thing, but the searching emotional
exploration in the playing delivers something else
altogether, like the titles are a loss-leader for a
substantial payoff. Berne sounds as velvety as he hasever been and that contrast with the picked guitar
strings is ideal.
“Middle Seat Blues” and “Giant Squids” are heard
across both albums. On Mars, the guitarist lays backfor some relaxed, Ornette Coleman-ish blues from
Berne while solo Belisle-Chi gives the music a Delta
blues sound with some nice slide work. “Giant Squids”
is far more skeletal and angular heard solo while asa duo it has the fascinating sound of musicians near toconstructing the thing on the spot, negotiating whatcomes next and when. As the last track on Mars, theyplay the head then it all comes to an end. A nice encore
to two sides of the same unique, impressive coin.
For more information, visit relativepitchrecords.com andintaktrec.ch. Berne is at Downtown Music Gallery Feb.
1st. Belisle-Chi is at The Owl Music Parlor Feb. 4th. See
Calendar.

road trip to the Detroit Jazz Festival that the criticalthing for him in several decades of playing this music
was “You’ve got to have a concept.” It has becomea catchphrase in this reviewer ’s household and one of
the gems he passed down to his drummer son Taru. On
the younger Alexander ’s new album Echoes of the
Masters, the mission is straightforward: a tribute bothto his father and to other jazz greats, some with whom
Taru has played. The cover and liner notes highlightmany of them: Billy Higgins, Freddie Hubbard, McCoy
Tyner, John Coltrane and Tony Williams.
Alexander ’s choice of bandmates is critical. James
Hurt, originally from Memphis and who upon his
move to New York played with the elder Alexander,
sparkles on piano while giving the leader more thanenough room to showcase his excellent skills. The
rhythmic exchanges between Hurt (who trained as a
drummer himself) and Alexander are exhilarating.
Antoine Roney, brother to the late Wallace Roney, is on
tenor saxophone, and Rashaan Carter, son of asaxophonist and a jazz radio programmer, is on bass. It
is fitting that these particular musicians should begathered to pay tribute to masters of this music.
The opening tracks, “Change Up” and “Kojo
Time”, were composed by Taru’s father, the lattercomposed on Taru’s birthday. Hanke G.’s vocal
interlude on “I Mean You” shows another side toAlexander, since his resumé includes work with
Aminata Moseka (née Abbey Lincoln). “Deception”,
composed by bassist Buster Williams, is a fieryexchange between the players. McCoy Tyner ’s“Peresina” eases things down via a luscious
saxophone melody, pleasing bass, gentle piano andsupportive drums. The final track, Wayne Shorter ’s“Pinocchio”, takes us full circle to the spirits of thismusic who came before us.
For more information, visit sunnysiderecords.com.
Alexander is at Smalls Feb. 1st. See Calendar.

was also recorded by the Black Art Jazz Collective,
co-led by saxophonist Wayne Escoffery and trumpeter
Jeremy Pelt, as the title track on their 2020 album.
(Gould was part of a revamping of the Collective’s
rhythm section, replacing Xavier Davis.) This version
has the same bouncing energy as that sextet recording,but Marshall drives the beat harder than the Collective’s
drummer, Mark Whitfield Jr., did.
In Our Time pays tribute to two of Gould’s early
mentors, trumpeter Wallace Roney and drummer
Ralph Peterson, Jr., both of whom died in recent years(Roney in 2020 and Peterson in 2021), on “LordWallace” and “Dear Ralph”, respectively. It is difficult
to eulogize a drummer, particularly one with a presence
as outsized as Peterson, without feeling the urge tostep into his shoes, but it is not until the next track,“Resilience”, that Marshall seizes some solo space,playing with a taut precision, rattling across the snare
to land on the toms with a resonant thump.
The album pauses in the middle for two soft pieces:“Showtime” is a romantic ballad, on which Shmerlingand Marshall’s playing is so delicate and restrained it
may as well be a solo piano piece, while “Queen Alma”(a dedication to Gould’s late grandmother and his
youngest daughter) actually is a solo performance, but
it has more whomp; the way Gould seems to wander off
track, lingering in the keyboard’s lower regions, may
remind some listeners of Thelonious Monk or Matthew
Shipp. When Stephens arrives, the listener is so
accustomed to the sound of the trio at work that his
passionate exhortations may feel like too much, but, by
his second track, his presence makes sense.
For more information, visit victorgouldmusic.com. Gould is
at Dizzy’s Club Feb. 3rd with Black Art Jazz Collective and
The Django Feb. 16th with Sachal Vasandani. See Calendar.

R Enrico Rava–2 Blues for Cecil (TUM)
Trio–Thoughtse • Finnerud(Prisma-Rune Grammofon)
Gargaud and Patrice Grente–c • Guillaume
Intuition’s Day (Open Systems)o • Giacomo Gates–You (Savant)Ibrahim–Solotude (Gearbox)m •• Abdullah
Ilmiliekki Quartet–Eponymous (We Jazz)
Blackbird–Black Acid Soulm • Lady(Foundation Music Productions/BMG)e • Harold Mabern–Mabern Plays Coltrane(Smoke Sessions)n • Stefan
Pasborg–Ritual Dance (Sunnyside)d • Scott Tinkler–Goose to Goose (s/r)
e Laurence Donohue-Greene, Managing Editord • Alan Braufman–Live in New York City
• Andrew Cyrille/William Parker/new
In Our Time
Victor Gould (Blue Room Music)
by Phil Freeman

Pianist Victor Gould’s fourth album as a leader marks

the debut of a trio with bassist Tamir Shmerling anddrummer Anwar Marshall. A few guests appear—tenor
saxophonist Dayna Stephens is heard on versions ofGigi Gryce’s “Minority” and Wayne Shorter ’s “InfantEyes” and on the album’s final track, “In Memoriam”,
a string quartet appears—but for the most part it is an
intimate, stripped-down release, showcasing Gould’s
melodic ear rather than the orchestrations that marked
his albums Clockwork and Thoughts Become Things.
Most of the compositions are new, but “Ascension”

14 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD

r
e
l
e
a
s
e
s

(Valley of Search)• Nathan Davis (with the George Arvanitas Trio)–Live in Paris: The Ortff Recordings 1966-67 (Sam)• Linda Fredriksson–Juniper (We Jazz)• Lady Blackbird–Black Acid Soul
(Foundation Music Productions/BMG)• Okkyung Lee–나를 (Na-Reul)(Corbett vs. Dempsey)• Joe McPhee, Michael Bisio,Fred Lonberg-Holm, Juma Sultan–
The Sweet Spot (RogueArt)• Hedvig Mollestad–Tempest Revisited(Rune Grammofon)• Miles Okazaki/Trevor Dunn/Dan Weiss–
Hive Mind (Tzadik)• Wadada Leo Smith’s Great Lakes Quartet–
The Chicago Symphonies (TUM)• Gunter “Baby” Sommer/Fabrizio Puglisi–
Elements (AUT)
Andrey Henkin, Editorial Director

The Solomon Diaries Vol. I, II, III(Feat. Nathan Koci)
Sam Sadigursky (Adhyaropa)
by Elliott Simon
Ballads: Into the Heart Of It
Steve Slagle (Panorama)
by Jim Motavalli

If you haven’t heard John Coltrane’s Ballads, you haven’t

taken the man’s full measure. Let’s throw the record
with Johnny Hartman in there too. Alto/sopranosaxophonist Steve Slagle gets to the heart of theseballads. Ugonna Okegwo’s bass seems a little down inthe mix but what one can hear sounds great and Jason
Tiemann is a nicely understated drummer for the project.
A big plus is trumpeter Randy Brecker on three
tracks. He is one of the most consistently satisfying
soloists in jazz and even if he just dropped into thesession for the day, he doubles the themes on his tracks
as if he has been playing them for years. His solos on
Thelonious Monk’s “Reflections” and Slagle’s “BigMac” alone will keep you coming back to this album.
But it is Slagle’s date and his playing makes one
ask why—despite an extensive resumé—he isn’t on
more listeners’ radar. On Tadd Dameron’s “If You
Could See Me Now”, he teaches a master class in
expressive, heart-on-sleeve alto playing. Pianist Bruce
Barth’s solo on this track is also outstanding.
On three tracks, Richard Sussman provides synthand drum programming and although Slagle is goodwith strings, even when they are artificial, the electronics
fail to substitute effectively for an actual orchestra. The
least-successful track is “My One and Only Love”, givena kind of almost jaunty hip-hop flavor. Hartman and
Coltrane rung every ounce of pathos from it and thatwould have been a good model . The programming on
Miles Davis/Bill Evans’ “Blue in Green” works better.
But this is a minor quibble. There’s so much to savor.
Duke Ellington’s “Le Sucrier Velours (The Queen’s Suite)”
isn’t heard enough and Slagle is surpassingly lovely in an
extended solo. On the stately title track, Slagle and Brecker
lock together, then the former on alto offers a lilting andoptimistic improvisation before the latter enters, modest
and open hearted, trilling on the outro to introduce abouncy Barth. The album also showcases four of Slagle’s
compositions and while they are all good “Si, See”, withthe auteur on superlative soprano, has a lovely, lilting
melody and could become a standard.
For more information, visit steveslaglemusic.com. Slagle is
at Smalls Feb. 4th-5th. See Calendar.

In the late 19th and early 20th Century, assimilation

into an idealized America was the intention of many
Eastern European Jewish immigrants. However,tension between culture and religion in the context ofovert anti-Semitism fostered complex Jewish-American
identities that continue to develop. The Borscht Belt,
centered in Sullivan County, NY, was one significant
cultural waystation on this journey. Jokingly referred
to as “Solomon County”, it included humble“kuchaleins” (cook alones) and massive resorts like
Grossinger ’s, the Commodore and the Concord. The
Borscht Belt was ultimately destroyed by its own
success as niche entertainers became conventional andsucceeding generations favored other recreational
pursuits. Iconic architectural markers were slowly
demolished by neglect and their remains, along withthe time period’s ethos, motivate clarinetist Sam
Sadigursky’s The Solomon Diaries.
Sadigursky’s father is a klezmer clarinetist but themuse for this release is the region’s rubble as captured
in photos by Marisa Scheinfeld for the book The Borscht
Belt: Revisiting the Remains of America’s Jewish
Vacationland. Like Jamie Saft’s Borscht Belt Studies(Tzadik, 2010), Sadigursky and accordion player
Nathan Koci do not try to mimic the music that theseresorts featured. Their graceful playing harkens backmore to an earlier Eastern European Jewish music thanit does to the jazz-infused klezmer that the Borscht Beltnurtured. The zeitgeist brilliantly comes together
though when listened to in combination with
Scheinfeld’s photos. Song titles name check noteworthy
places and people and the compositions integrate
recorded voices from the past across three CDs.
Large resorts are wistfully portrayed as pathos
fills “Flight of the Commodore” and “Nevele”,
formerly located in Ellenville, NY, starts with anexcerpt from Yiddish Singer Ruth Rubin’s uptempo“Hot zikh mir di zip tsezipt”. Her refrain captures thejoy of dancing during a traditional Jewish wedding but
the song then devolves into a thoughtful duet thatmaintains the dance but places it in a gloomy setting.
Rubin also appears on a bluegrass-tinged yet poignant“Pines Hora”, which features Koci on banjo as well as
accordion. “Minette” (previously the Delmar Hotel in
Liberty, NY) is a somewhat livelier folk dance while“Callicoon”, referring to the Callicoon Hills Resort thatis still operating, features fierce and whirling
instrumental interplay. “Hi-Li” pays homage to an area
boys camp and like many other pieces starts out with ameeting of clarinet and accordion building to a
climactic ending whereas “Rose’s Hard Candy”
impresses with its interesting rhythms and harmonics.
“Little Narrow Circles” is the session centerpiece andincludes sections from Reuben Wallenrod’s Dusk in theCatskills (1957) read by Katrina Lenk. Spoken word andher impassioned vocals whirl with the instrumentationand push Koci and Sadigursky to create an intensely
emotional experience that intertwines previous
splendor with present despair.
Koci is outstanding throughout but his forays into
the upper register and harmonizing above the melody
occasionally relegate the clarinet to a duplicative
sounding middle voice; Sadigursky’s register switchingis superb but his horn is at times lost. That said, such is
not the case on “Kuchalein”, a tune whose climax
allows Sadigursky to show off his powerful playing,or on the cleverly-put-together journey from NYC to
the Catskills taken on “87 North”. “Goodbye Sullivan”

and “Fannie’s Waltz” close out the final CD with theformer a flowingly touching ballad showcasing
Sadigursky’s lovely tone on bass clarinet and the latter
is an ethereal piano/accordion twirl. Sadigursky’s
excellent three-volume Words project (New Amsterdam)
used poetry for musical inspiration and with The
Solomon Diaries he performs similar magic with striking
visual images.
For more information, visit adhyaroparecords.com. This
project is at Barbès Feb. 6th. See Calendar.

Bird LivesSWR Big Band/Magnus Lindgren/John Beasley(ACT Music)
by George Kanzler

Originally conceived to coincide with Charlie Parker’s

centennial and to be performed live in 2020 by John
Beasley’s Monk’estra, this project was delayed by the
COVID pandemic and reinstituted last year for the
SWR Big Band of Stuttgart, Germany, led by Swedishflutist/saxophonist Magnus Lindgren, who co-arranged
five and arranged one (a medley-overture), of the eighttracks. Of the other seven, four feature Parker originals
and three ballad standards, a nod to the Charlie Parker
with Strings period also alluded to by the inclusion of a
10-piece string section with the SWR Big Band.
The tracks with Parker tunes are the meat of therecital, kicking off in grand fashion with the flagwaving opener, co-arranged by Lindgren and Beasley,
and the standout track, “Cherokee/Koko”. Parker ’s
contrafact of Ray Noble’s “Cherokee”, “Koko”, leads
off, the Bird theme tossed around between sections of
the big band before French singer Camille Bertault
scats Parker ’s recorded solo. Guest tenor saxophonist
Chris Potter then steps up, roaring through a long solo
backed by band shouts and riffs introducing“Cherokee” phrases. A drum break dissolves into
rubato strings as preface to Beasley’s piano solo
followed by a saxophone section soli of more of Bird’ssolo, leading into a reprise of “Cherokee” and “Koko”
with Potter.
Beasley’s mashup arrangement of “Scrapple fromthe Apple/Ah Leu Cha” features AfroLatin percussion
from guests Pedrito Martinez and Munyungo Jackson,semi-rubato string interludes and solos from trumpeter
Martin Auer and Lindgren on tenor. “Confirmation”,
one of the five co-arrangements, aims toward a funkycontemporary vibe, enlivened by Beasley’s Fender
Rhodes and Marc Godfroid’s trombone solos. The
percussion guests return for an AfroLatin “DonnaLee”, propelled by bongos and congas, guest MiguelZenón’s alto saxophone soaring on top.
Of the three ballads, Beasley’s chart on “I’ll
Remember April” is the one that conjures up Charlie
Parker with Strings memories. A showcase for guest Joe
Lovano’s tenor saxophone, it succeeds as both featureand tribute. “Laura”, a co-arrangement heavily
influenced by cinematic music (the song was a movie
theme originally), is atmospheric with drama, lessening
the impact of guest Charles McPherson’s alto
saxophone lead and solo. “Summertime”, anotherco-arrangement, is a disappointment, stuck somewhere
between pop-jazz and smooth jazz.
For more information, visit actmusic.com. Beasley conducts
the Manhattan School of Music Jazz Orchestra at Dizzy’s
Club Feb. 7th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 15

G LO B E U N I T Y

Escape The Flames
Binker and Moses (Gearbox)
Oostum Wind
Wu Wei/Klaas Hekman (Strotbock)Live Recordings 2019-2020
Timo Lassy/Teppo Mäkynen (We Jazz)by Tom Greenland

Although some have suggested three is the magic

number for spontaneous musical interactions,paring down to two improvisers raises the stakes,
calling for more robust contributions from each.
When said duos unfold in real time, without safety
netting, the stage is primed for creativity unlimited.
Tenor saxophonist Binker Golding and drummer
Moses Boyd are pivotal figures in the burgeoning
London scene that delivers jazz with the intensity
and immediacy of club music. Escape The Flames
captures the duo’s launch party for its sophomore
disc Journey To The Mountain Of Forever at London’s
Total Refreshment Center, reprising all the studio
tracks in extended versions, fed by the energy of anencircling crowd. Akin to Cream or the Jimi Hendrix
Experience, the pair come on like a ‘power duo’,with recognizable roots in the iconic John Coltrane/
Elvin Jones exchanges, but also adding John Bonhamesque power drumming, R&B/hip-hop beats andspeed-metal onslaught of a two-hand-tapping
guitarist. The style is more formulaic than European
free improv, yet these visceral workouts containabundant variety, subtlety, sensitivity and edge, well
suited for both club and concert crowds.
Chinese sheng maestro Wu Wei (based in Berlin)
and Rotterdam bass saxophonist Klaas Hekman are
an unusual pairing, wedding the 3,000-year-old“bamboo organ” (as Wei terms it in the liner notes)
and the low brass saxophone (which sounds an octave
under the tenor). Recorded over three days in the
Netherlands, Oostum Wind shows that even the oddest
couplings can work well. Wei ‘leads’ most of the 11
atmospheric pieces, playing cascades of double
pitches, which bend, slide, whirl and stutter like train
whistles or bird calls, his alternating inhaled andexhaled attacks separated in the mix to effect a kind ofcounterpoint, as if two were playing. At times hesounds like a Baroque organ, at others like an unruly
bassoon. Hekman adds figured basslines, low-end‘yodels’, atmospheric valve taps, clicks, claps andsighs, rooting pig grunts and vibrant didgeridoo-likedrones suffused with overtone melodies.
On Live Recordings 2019-2020, the fourth album
by tenor saxophonist Timo Lassy and drummer Teppo
Mäkynen, the Finns develop an approach somewhere
between the records reviewed above: like the former
containing an ample measure of fat-toned, R&B-laced
blues phraseology; like the latter making ample use of
timbre, space and atmosphere. Recorded at the We
and Porvoo jazz festivals and Helsinki’s G Livelabclub, the cuts showcase Lassy’s ability to finesse a
motive, shading his sound with expressive vibrato,
working concise fragments into broad gestures
through meticulous attention to detail, making hisstrongest declamations with inborn magnetism. He
and Mäkynen strike a balance of initiative andrestraint, whether in seesawing interchanges or
toggling solo episodes. The longest cut, “Liberty”, isimpressive for its slowly ramping, sustained climax.
For more information, visit
klaashekman.nl and wejazz.fi

gearboxrecords.com,

I’m In Love Again
Sweet Megg & Ricky Alexander (Turtle Bay)by Alex Henderson

The late producer Orrin Keepnews once argued that,when all is said and done, there are two types of jazz:
before and after Charlie Parker. Vocalist Meaghan
Farrell, aka Sweet Megg, and saxophonist/clarinetist
Ricky Alexander stick to the pre-Parker variety on I’m
In Love Again. An expressive artist who brings a senseof fun and playfulness to her performances, Megg
draws on influences that include Billie Holiday, Peggy
Lee, Ivie Anderson and classic blues singers like
Victoria Spivey and Bessie Smith. All of the musicians
who join Megg and Alexander sound well-versed injazz’ pre-Parker era: trumpeter Mike Davis, trombonist
Rob Edwards, banjo/guitar player Jerron Paxton,
pianist Dalton Ridenhour, bassist Rob Adkins anddrummer Kevin Dorn. The arrangements that Davisbrings to pianist Fats Waller’s “Squeeze Me”, Joseph
Meyer’s “My Honey’s Lovin’ Arms” and Harry
Warren’s “I’d Love to Take Orders From You” arereminiscent of the late ‘20s-early ‘30s.
This album swings with a strong New Orleans
flavor, often recalling the early bands of clarinetist
Sidney Bechet and trumpeter Louis Armstrong.
Arrangements of Frank Signorelli’s “A Blues Serenade”
or Cole Porter’s “I’m in Love Again” aren’t Dixielandin the strict sense, but the Crescent City influence isdefinitely there. Megg and Alexander manage to offer
their share of surprises and don’t insist on sticking to
the most overdone standards. Duke Ellington’s “I Got It
Bad and That Ain’t Good” has been recorded by myriad
artists, but Jack Lawrence-Peter Tinturin’s melancholy“Foolin’ Myself” is an underexposed gem recorded by
Holiday in 1937. Megg’s charismatic performanceshows how well the song holds up in the early 2020s.
The traditional “Ragged But Right” is closely identified
with country music but the version here is more akin toclassic blues singers like Smith and Ma Rainey and a lotof fun in the process.
Traditionalism certainly has its place in jazz and
I’m In Love Again is an appealing celebration of jazz’
pre-bebop era.
For more information, visit turtlebayrecords.com. Sweet
Megg is at Chelsea Table & Stage Feb. 11th. See Calendar.

Songs of Joy
Yoko Miwa Trio (Ubuntu)
by Marco Cangiano

1997 to attend Berklee College of Music and has beenplaying with her trio around the Boston area ever since.
Thanks to her impeccable technique, Miwa’s approach
may come across as somewhat eclectic although it has
become increasingly personal compared with her earlyrecordings. She has an uncanny gift of making even themost intricate tune sound simple, the result that eachbecomes entirely her own; see, for instance, her readingof Thelonious Monk’s “Think of One”. Bassist Will
Slater and drummer Scott Goulding have been Miwa’s
very congenial partners for quite some time.
While not all of her originals may be memorable
they are very pleasant to the ear. “Largo Desolato” has anunderlying bossa nova feeling, much as “The Rainbirds”,
in describing New York’s empty streets. “The Lonely
Hours”, dedicated to Miwa’s father, who passed awaylast year, is an affectionate elegy featuring a thoughtful
bass solo. “Inside a Dream” carries echoes of the Bill
Evans Trio featuring Chuck Israels, who is recalled in
Slater’s wonderful solo. Miwa’s “Small Talk” and Duke
Jordan’s “No Problem” are the most straightahead tunes
and reminiscent of Art Blakey’s Messengers.
Billy Preston’s “Song of Joy” is a fascinating balladhighlighting Miwa’s block chord approach combinedwith hints of Keith Jarrett’s gospel romanticism. Richie
Havens’ “Freedom”, the iconic opening of the
Woodstock movie, gets a muscular treatment, withechoes of McCoy Tyner, while Anne Bredon’s “Babe
I’m Gonna Leave You”, immortalized by Led Zeppelin,is enriched by bassist Brad Barrett’s arco carrying themain theme while providing an unusual depth to thepiece’s sorrow. A hopeful recording that rewards witheach listen.
For more information, visit www.weareubuntumusic.com.
Miwa is at Iridium Feb. 11th. See Calendar.

NICK FRASERNEW CD ON
HATHUT/EZZ-THETICS:

IF THERE WERENO OPPOSITESFEATURINGTONY MALABY
ANDREW DOWNINGROB CLUTTON

2022 NEW YORK PERFORMANCES:

FEB 21, 8PM: BUSHWICK PUBLIC HOUSE
WITH MICHAEL ATTIAS, DARREN JOHNSTON, MICHAEL BATESFEB 22, 6:30PM: DOWNTOWN MUSIC GALLERYWITH MAT MANERI, BRANDON LOPEZ
FEB 26, 8PM: I-BEAM
WITH ANNA WEBBER, DARREN JOHNSTON, MICHAEL BATES“Fraser is a deft and sensitive
percussionist with a hint ofan enigmatic streak, a feelingfor economical gesture andan innate sense of form.”
Mark Miller,
The Globe & Mail

As an exercise in sanity, in the thick of the pandemic
lockdown pianist Yoko Miwa forced herself to “write
something every day”. The results appear in a wellbalanced selection of original compositions, handful ofstandards, and, as in some of her previous recordings,
the (re)discovery of iconic pop tunes well adapted to her
modern jazz esthetics. Born in Kobe, Japan, Miwa was aclassically-trained pianist who won a scholarship in

16 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORDNICKFRASERTHEDRUMMER.COM

IN PRINT

Pandemic Duets
Kenneth Jimenez/Stephen Gauci (Gaucimusic)
Pandemic Duets
Raf Vertessen/Stephen Gauci (Gaucimusic)
by John Sharpe

O ver July and September 2020, tenor saxophonist

Stephen Gauci embarked on 19 encounters under thetitle Pandemic Duets where he paired his utterly
personal mix of juddering overtones, sinuous upper
register screeches and crusty overblowing with a wide
range of partners, some already well-established,others more up-and-coming. The two download-only
releases considered here fall under the latter banner.
Gauci’s duet with bassist Kenneth Jimenez,
originally from Costa Rica, is the fifth in the series witha bassist, following hookups with Michael Bisio, Adam
Lane, Ken Filiano and Lisa Hoppe. Often in nimble
counterpoint, Jimenez’ cleanly articulated pizzicato
clearly relates to the jazz tradition, albeit through an
abstract lens, and as such he also seems to bring
Gauci closer to convention in terms of syntax,
if not language. That is audibly the case on “#7”, whichcomes on like a deconstructed standard, with Gauci
approaching the suburbs of lyricism, although neverheading downtown. On this set Gauci often tempers his
amalgam of angular altissimo phrases, briefly stutteredmotifs and guttural bellows by residing in the midrange.
At other times he toggles an almost boppishly zigzagged
line with a yelping falsetto where he reverts to some of
his most favored intervals. By contrast Jimenez rarely
employs extended techniques, but when he does it is in
the form of a squealing arco or glacial harmonics andabrasive scrapes. Overt responsiveness manifests mostobviously when Jimenez wields his bow to fashion
slippery wavering cries, which Gauci answers withkeening ululations. Throughout the dialogue features
recurring pauses, as if both are taking stock, with
Jimenez paying great attention to sound placement,over the course of ten unfettered tracks.
A brief glance at the catalogue shows that Gauci
also has a thing for drummers. His date with Brooklynbased Belgian Raf Vertessen stands in a lineage, which
also includes Gerald Cleaver, Vijay Anderson, Jeff
Davis, Kevin Shea and Colin Hinton. Vertessen supplies
loose-limbed pulsation, assembled without recourse
beyond the standard kit. In one mode Vertessen weaves
a continuous rhythmic carpet bearing up Gauci’s
idiosyncratic outpourings. While the opener is the sortof conversational interaction you would anticipate
from two free jazz spirits, as Vertessen punctuates his
affable rumble with mini-avalanches when Gauci veers
into the stratosphere, elsewhere he avoids generating
momentum. Then the discourse seems much more
between instrumental equals rather than fulfillingpreset roles. As an example, on “#3” Gauci’s teetering
howl breaks on percussive waves, before edging into
frayed distortion in a jagged stop-start exchange. Suchjudicious suspensions promote something akin to calland response, although the distinction is never quite soclear-cut as the rejoinders ultimately blur together. On“#2” Gauci intersperses his gruff honks with silence inan unaccompanied introduction before Vertessen adds
his tappy two cents’ worth in a reined-in outing, whichis the opposite of what may be imagined from a drum/
saxophone duet, indicative of how the album bothconfirms and upends expectation.
For more information, visit gaucimusic.bandcamp.com.
Gauci, Jimenez and Vertessen are at Downtown Music
Gallery Feb. 12th. See Calendar.

Crossing Bar Lines: The Politics and Practices
of Black Musical SpaceJames Gordon Williams(University Press of Mississippi)
by Monique Ngozi Nri

Billy Higgins, in what photographer Chester

Higgins would call a soul moment, graces the coverof James Gordon Williams’ Crossing Bar Lines: The
Politics and Practices of Black Musical Space. The title
itself packs a punch, suggesting bars on the musicalpage; physical spaces for presenting this music; andthe many barriers Black musicians have had to facein carrying themselves with dignity.
Williams explores these themes of transcendence
and resistance as he examines the lives and music ofdrummers Higgins and Terri Lyne Carrington andtrumpeters Terence Blanchard and Ambrose
Akinmusire. As historian, academic and author of
Thelonious Monk: The Life and Times of an American
Original Robin D.G. Kelley states in his brilliant
foreword, “Williams discovered in Black musicalspace a powerful force against catastrophe.”
Williams straddles several spaces himself as aprofessor in African American Studies and pianist/composer working in many interdisciplinary
collaborations with various artists. Despite a clear
academic focus, Williams is at pains to point out
that “readers will be able to gain insight on these
improvisers’ cultural work.”
The introduction is a tour de force, Williams
setting out his terrain and carefully examining theconcepts he wishes to explore: Black music spatiality
and respatialization; improvisation; the revamped
hermeneutic of crossing the bar line; twin axes ofsocial life and death; and inclusivity. There is muchto unpack, question and ponder. Williams’ epigraphis three quotes about Black music and space,including one by the recently deceased Bell Hooks:“Space can be real or imagined. Spaces can tellstories and untold histories. Spaces can beinterrupted, appropriated, transformed throughartistic and literary practice.”
Among the questions Williams seeks to answer
is “How do these five African American Improvisers
use their improvisation to do the cultural work ofaddressing social inequalities while affirming their
humanity.” His reason for choosing them is “thattheir musical work demonstrates complex
relationships within notions of Blackness, genderand a Black sense of place.” Thankfully—for this isa dense book to be digested slowly andthoughtfully—Williams provides us with anexcellent summary of the work that he will do in
subsequent chapters to close the introduction.
While the arguments made for the existence inthe music selected for this study of transcending
spaces that are at once resistant to white supremacy
and celebratory of “quotidian black life” are notentirely convincing, readers will certainly be drawn
to listen again to the music that Williams selects andto learn more of the overt, inverted and more
complex political work of these musicians.
For more information, visit upress.state.ms.us

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 17

Eponymous
Samara Joy (Whirlwind)by Scott Yanow

W hen a talented young jazz singer begins her very

first CD with “Stardust”, it is certainly a good sign forthe music. Just 21, Samara Joy gained attention when
she won the Sarah Vaughan International Jazz Vocal
Competition in 2019. Her debut recording will certainly
result in her becoming much better known.
Joy has a beautiful voice with a wide range, displays
the influence of Vaughan (particularly on “Lover Man”
and “Jim”) without directly copying her inspiration andsounds remarkably relaxed and comfortable, even on
uptempo material. Unusual for her age is that she takes
her time in getting her message across rather thanletting everything out in the first chorus.
For this intimate set, the singer is joined by thesuperb guitarist Pasquale Grasso, bassist Ari Roland
and drummer Kenny Washington. “Stardust” is givena memorable treatment with Joy opening with its verse
while accompanied solely by Grasso. The guitarist
weaves inventive lines around the singer throughout
the concise one-verse, one-chorus version. Anotherparticularly special performance is the closer, “But
Beautiful”, taken as a five minute voice-guitar duet.
The use of space, with every note counting, coupledwith the richness of Joy’s voice, make this a highpoint.
But all dozen selections receive favorable
treatments: “Everything Happens To Me” is ironicallytaken uptempo (showing that the singer does not takeher problems overly seriously); “Let’s Dream In The
Moonlight” features her sounding perfectly fine at a
racehorse tempo; there is plenty of warmth in“It Only Happens Once”; and “Moonglow” is happily
boppish. “Jim” (which is about a good-for-nothing
boyfriend) is a little too upbeat but the revival of“The Trouble With Me Is You” easily compensates.
While there are many fine jazz singers on the sceneright now, on the evidence of this recording, Joyalready ranks near the top and this is just the start.
For more information, visit whirlwindrecordings.com. Joy
is at Kings Theatre Feb. 12th and Dizzy’s Club Feb. 14th.
See Calendar.

Send For Me
Catherine Russell (Dot Time)by Marilyn Lester

Send For Me, Catherine Russell’s eighth album as aleader (and surprisingly only 16 years into a solo
career), is a testament to a life immersed in music. The
Grammy-nominated vocalist, daughter of musicians
Luis Russell and Carline Ray, has been performing
since childhood and the experience adds up to an
unflinching, supreme confidence in her craft.
The 13 tracks reflect her preference for romancethat swings, combined with her mission of finding
songs that deserve attention. In all of them she is firmly

anchored, committed to her choices and delivers themwith conviction. “In The Night” (Norman Mapp) takes a
deep dive into blues, with Sean Mason’s piano keenly
supporting Russell’s intense interpretation as she builds
a powerful interpretive arc. A fast bluesy “You Can Fly
High” (Earl King-John Vincent) has a zydeco feel while“If I Could Be With You” (James P. Johnson-Henry
Creamer) easily evokes a New Orleans honky-tonk.
Russell is delightfully generous to her musicians.
“At The Swing Cats Ball” (Luis Russell-William
Campbell) features prime wizardry by trumpeter JonErik Kellso and trombonist John Allred. A terrific, funarrangement of “Going Back To New Orleans” (JoeLiggins) benefits from drummer Mark McLean’s
tambourine and the heady tuba of Phillip Norris while
Matt Munisteri on both guitar and banjo adds morecolor, as Russell vocalizes with a bright, zippy swing.
While most of the tunes are not traditionallymainstream, a pair of well-known American Songbook
numbers are welcome in the mix. “East of The Sun (andWest of the Moon)” (Brooks Bowman), Russell adding
the verse, also features creative support by Mason andis a showcase of Russell’s mastery of phrasing, more
traditionally presented here, as opposed to her jazzpersona. “You Stepped Out of A Dream” (Nacio Herb
Brown-Gus Kahn) leans heavily on a traditional rhythm
section backup, played in a pleasing, light swing tempo.
For more information, visit dottimerecords.com. Russell is
at Birdland Feb. 14th-19th and The Atlantic BKLN Feb.
28th with Steven Bernstein. See Calendar.

like a latter-day Joe Zawinul, particularly against muted
trumpet. This is brilliant, lasting music.
Another side of Ishito is found on Attitude!’s
Pause and Effect, based around the revolutionary
spoken word of poet Rose Tang who doubles on electricguitar, piano and percussion. Her trio with Ishito anddrummer Wen-Ting Wu stands out not only as—byintent—all-female, but all-Asian and from varying
parts of the East. Tang, the Brooklyn-based journalist
and survivor of 1989’s Tiananmen Square uprising, hasbeen experimenting with improvisational music over
several years and brought this band together as part ofher statements against sexism and anti-Asian hate andthe struggle of Hong Kong against mainland China’s
military rule. “I’m not a China doll, I’m not yourgeisha…I’m not Yoko Ono…I AM ME,” Tang exclaims
in righteous anger over burning, far-reaching freemusic. “Gimme a Mic” and “Who Flung Dung” areradical calls to order, shouted, demanded and specified
as poetic free jazz. But listen, too, for the gravity of“Flames with No Names” and Ishito’s spiritual hornclaiming John Coltrane’s “Alabama” for the cause as
Tang meditates on the rapes, the pillages, the theft ofwomen. “You can never beat us. You can kill us, but
you can never kill all of us,” she states. “This is yourlast hurrah…”. Wu’s fluid, rapid-fire mallets on toms
conjure the imagery of Asian folk music as easily as Ed
Blackwell. And the fiery propulsion of “8 Steps/7
O’Clock”, with Ishito’s sinewy, ‘80s-inspired head, letalone the “Conversation” (nearly 25 minutes in length),
are so steeped in the Fire Music tradition listeners may
assume these to be lost cuts by John Zorn or Alice
Coltrane, respectively. Not bad company.
For more information, visit 577records.com and espdisk.com.
This project is at Nublu 151 Feb. 17th. See Calendar.

Open Question, Vol. 1
Daniel Carter, Ayumi Ishito, Eric Plaks,
Zach Swanson, Jon Panikkar (577 Records)
Pause & Effect
Attitude! (ESP-Disk’)by John Pietaro

Tenor saxophonist Ayumi Ishito first came to theattention of this writer several years ago at the debut
performance of Attitude!, prior to that band actually
having a proper name, but the Japanese-born Berklee
grad has been residing in New York for nearly a dozen
years. Tutelage with George Garzone and mentorshipfrom Daniel Carter has seen her working with a wide
range of like-minded spirits and leading her own
ensembles, remaining vital and garnering due attention.
Open Question is one of those projects Carter has
thrived in lo these many years: equal parts young andold(er), east and west, blue, cool, hip and caustic. His
multiple woodwinds and brass along with Ishito’s tenorsoars through four works recorded in a Brooklyn studiolate in 2020. The band demonstrates a damned amazing
ability to play utterly free over varying arrangements
and dynamics as if reading charts of through-composedmusic. Things start with “Blues”, in which the frontline
wraps itself around a wildly expanded blues form.
“Dimly-lit Platform” is flute-driven, reeking of
misterioso and noir, not simply film noir but the still
earlier novels—think Dashiell Hammett and Cornell
Woolrich. Ishito’s tradition-haunted tenor, reedy anddark, bores new tonalities through Carter’s floating
melody. “Confidential BBQ”, the next cut, seems more
like a second movement of the former title as it retains
the shadowy vibe, albeit over double-time groove.
Tenor is again matched by flute and muted trumpet
while bassist Zach Swanson and drummer Jon Panikkar
glide, smoke and burn at mezzo-piano. Midway
through, this moves into electric Miles Davis, Eric Plaks’pointed Wurlitzer commanding the swarming thicket

18 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORDMy Astorian Queen
Martin Wind (Laika)
by Ken Dryden

German Martin Wind was a busy bassist as a youngman, but his first visit to New York convinced him that
he would soon call it home. To celebrate his 25th
anniversary of moving, he recruited pianist Bill Mays,
multi-instrumentalist Scott Robinson and drummer
Matt Wilson, all of whom have worked with him over
the years. The sessions were recorded at Maggie’s Farm
after a gig at the nearby Deer Head Inn in Pennsylvania.
One of the things apparent about Wind is his lackof ego. He may only take a single chorus as a soloist, so
focused is he on what the song needs, it may surprisesome listeners that this is the bassist’s album. Since
Mays, Wind and Wilson work often as a trio, theirabilities seem almost telepathic as they anticipate
which direction things are heading.
Each song has a special significance, beginningwith Thad Jones’ “Mean What You Say”; Wind played
Jones’ music when he has guested with the Vanguard
Jazz Orchestra. This strong opener features Robinson
on both muted trumpet and tenor saxophone.
“Solitude” is not the Ellington ballad but a moody
original the bassist wrote in the midst of the COVID
lockdown. This gem comes to life through melancholy

clarinet and shimmering piano. Mays’ warm ballad“Peace Waltz” is a duet with Wind, introduced by his
matchless arco. Wind’s lush title waltz is a tribute to
his wife and her former apartment in Queens. The
loping, lyrical tune has a spacious, relaxed arrangement,with a quirky tag by Robinson that fits his eclectic
personality. It is clear how much fun these musicians
have every time they get together and Wilson’s
sensitive percussion backing Wind’s virtuoso solo
treatment of the old warhorse “New York, New York”
ends the session with humor.
For more information, visit laika-records.com. Wind is at
Dizzy’s Club Feb. 17th-20th with Ann Hampton Callaway
and Birdland Feb. 24th-26th with Dena DeRose. See Calendar.

An Elegant Ritual
Mehmet Ali Sanlıkol (DÜNYA)by Dan Bilawsky

P ianist Mehmet Ali Sanlıkol makes fine art throughthe integration of traditional Turkish music and jazz.
On his previous release—2019-20’s The Rise Up—he didso with a grand-scale gathering, painting engrossing
scenes featuring a large ensemble that surrounded andsupported guest soloist Dave Liebman’s sopranosaxophone. Now he achieves something equallyremarkable by scaling things back to a coterie of three.
Recalibrating the piano trio format, Sanlıkol
assembles his work around an imagined systemicbinary of the Mevlevi Ayin—the Sufi whirling dervish
ritual—and John Coltrane’s A Love Supreme. In
designing original music that eyes those models, hecreates something at once respectful and revolutionary.
An Elegant Ritual remains cognizant of the distinctive
aspects of its guiding forces—the usul (rhythmic cycles)
and maqam (mode) with regard to Turkish music,
improvisation in the case of jazz—and expands the trio
matrix by incorporating the leader ’s hypnotic vocals
and ney (end-blown flute) and drummer George
Lernis’ gongs and bendir (frame drum).
There are points where this outfit hews to more
typical trio aesthetics—lone standard “Invitation”, atjourney’s end, being the clearest—but those occurrences
are rare. By and large, this album is a mystical brewthat moves well beyond established borderlines. Just
look at the title track, introduced with a blend of ney
and bassist James Heazlewood-Dale’s natural
harmonics. Enhanced by the metallic resonance of
Lernis’ Javanese gamelan-influenced gongs, evolving
into something more spiritual with added percussive
weight and nearing a state of transcendence withpianistic profundities that give way to the gentler sightof return, the piece leaves no doubt as to Sanlıkol’s
abilities to harness the power of the infinite reaches.
Surrounding most of his larger pieces withminiatures—a prelude, three interludes and a postlude
spread across the set—Sanlıkol nods to certain
structural realities connected to his inspiration while
demonstrating real smarts in the programming andpacing departments. And with everything captured
live he impresses both in terms of musical multi-tasking
and honorable intention(s). Whether leading a cast ofdozens or teaming up with two other serious talents,
Sanlıkol manages to leverage customs and conventions
to create something magical that is all its own.
For more information, visit dunyainc.org. This project is at
Joe’s Pub Feb. 18th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 19

On The Town (Malinverni Plays Leonard Bernstein)
Pete Malinverni (Planet Arts)
by Thomas Conrad

P ianist Pete Malinverni does so many things well that

it is hard to get a fix on him. Perhaps that is why he is
not more famous. His body of work includes solo
projects, trios, small groups, big bands and gospel
choirs. He has played tangos in a duo with a classicalviolinist and has accompanied singers.
But he has never before made a record dedicatedto the work of a single composer. It is one more thing
he does well. His intent on his new album is to create
fresh encounters with Leonard Bernstein songs whilestill celebrating the composer ’s achievement. He
succeeds because, even with all the new content in his
jazz interpretations—harmonies, rhythms, connecting
notes, countermelodies, digressions, modulations,reshaped phrasing—Bernstein’s tunes are always
instantly recognizable and Malinverni makes you
delighted to hear them again.
The dominant vibe here is joy. Joy is alreadyinherent in many Bernstein songs. Malinverni
intensifies it. “New York New York” is a passionate
announcement that sweeps you up in its euphoria.
“I Feel Pretty” is a jubilant jazz waltz on steroids.
“Lucky to Be Me” starts formally but soon accelerates.
A signature feature of Bernstein music is a sudden leap
between intervals. Malinverni uses the leaps to launchheadlong momentum. His trio swings like crazy.
(The other members are bassist Ugonna Okegwo,
a longterm Malinverni colleague, and drummer Jeff
Hamilton, a new associate.)“Somewhere” is one of Bernstein’s tenderest
songs. When Keith Jarrett played it, it was a revelationof yearning. Malinverni is not in a yearning mood. His
portrayal of the melody (with its minor seventh leap)is hard and blocky and the whole performance (with
Okegwo its beating heart) throbs. “Some Other Time”
may be Bernstein’s most wistful song. But again,
Malinverni is not feeling wistful. The composition
contains blues inflections but Malinverni makes theblues explicit, gives it a new vamp and time signatureand turns this dreamy song funky.
One reason this album is so much fun is the sound.
It was recorded by Maureen Sickler in Van Gelder
Studios. She vividly renders three instruments and puts
their collective energy directly into your listening room.

Nick Fraser ’s superb quartet demonstrates and dispels
similar dualities on multiple levels, nowhere moreconvincingly than when dissolving the false boundaries
separating jazz from chamber music. As much sonic ascompositional, those constructs govern the trajectories
of both composed and improvised passages even as
differences dissolve in the service of music that is both
rawly immediate and charmingly inaccessible.
Dig into the opening bars of “Sketch #50” to catchan elastic aural glimpse of the band at work dissolving
those wavy lines even as they are drawn. The Ornette
Coleman-esque head writhes and dips under the morethan capable guidance of cellist Andrew Downing andsaxophonist Tony Malaby before Fraser and bassist
Rob Clutton’s arco turn a rhythmic trick or two. Bothstring players bow with the incisive brilliance of those
steeped in the elastically conjoined worlds Meyer cites
while Malaby’s affinity with Albert Ayler is blazingly
obvious. As head and solo converge, the intrigue ofFraser ’s delicate but penetrating repetitions serve as
bond and liberator. While the piece morphs in timbral
rather than dynamic terms, “The Fashion Show”
elucidates another side of the band’s complex historicalgrappling. Initially cut from similar New Thing cloth,
Fraser ’s polyrhythms guide volume gently downward,
brushed toms and cymbals opening the gate for an
exquisite melody shockingly reminiscent of those early‘50s Chet Baker and Gerry Mulligan sides. Again, thestrings swing in gorgeous symbiosis, but it is Fraser ’s
constantly shifting groove that keeps the music moving
along its relatively gentle course. Despite this cohesion,
there is always room for the puckish pointillism inwhich the strings and saxophones regularly engage,
drums eventually joining in the fun.
As scintillating as the group interplay can be, it
relies on solo contributions, all of which are stellar.
They shine most brightly in the two improvisations,
initially connected, that bookend the disc. Those two
halves could not be more different, perhaps the mostfascinating duality on display. The drone governing
much of the first is rife with overtone and peacefully
dark, a power nexus in full effect as surrounding
events coagulate in its orbit. The second finds thegroup in a different sort of research-and-development
mode as various combinations are foregrounded. Most
beautiful is the way string and reed ultimately ebb,
a perfect end to an album replete with the discoveries
that render boundary considerations obsolete even as
new ones are erected. The recording is just dry enough,just vivid enough, to be startlingly natural. The room
becomes both instrument and witness to the events on
ever-evolving display.
For more information, visit hathut.com. Fraser is at
Bushwick Public House Feb. 21st, Downtown Music Gallery
Feb. 22nd and Ibeam Brooklyn Feb. 26th. See Calendar.

For more information, visit planetarts.org. This project is at
The Django Feb. 8th. See Calendar.

... and then there’s this
Artifacts (Astral Spirits)
by Robert Bush
If There Were No Opposites
Nick Fraser Quartet (hatHUT/Ezz-thetics)
by Marc Medwin

In his typically perceptive liner notes, Bill Meyer refers

to the improvisation/composition duality at the heartof jazz discourse as being, “what flint and steel are tocampfires”. Indeed, the fourth album from drummer

The concept of the ‘supergroup’ is often fraught withperil. Assembling a band loaded with ringers iscertainly no guarantee of success. This album, however,lives up to and even beyond the promise inherent in atrio of Nicole Mitchell (flute and electronics), Tomeka
Reid (cello) and Mike Reed (drums). This is theirsecond document, following the self-titled debut
released on 482 Music in 2015.

20 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD

That disc featured many compositions fromstoried AACM figures like Anthony Braxton, Roscoe
Mitchell, Fred Anderson and Muhal Richard Abrams.
The new effort combines that idea with original
material from each member of the trio.
Reed’s “Pleasure Palace” opens the proceedings.
Right off the bat, Mitchell shoots for the stratosphereand in no time at all the proposition that she could wellbe the finest flute player of her generation doesn’t
leave much room for argument. Reed is no stranger
to the kind of rhythmic ecstasy generated by fellow
Chicago drum masters like Jack DeJohnette andThurman Barker and his playing is consistently
rewarding throughout this session. Speaking ofChicago drum masters, the trio dedicates “A.F.”,a group improvisation, to the memory of the late
Alvin Fielder.
Which brings us to Tomeka Reid, who has been
blazing her own trail in creative music for at least thelast decade. One of her compositions, “In ResponseTo”, conjures Charles Mingus by way of the Art
Ensemble of Chicago, plucking a vamp that locks inwith the drums and propels Mitchell into a growling,
sputtering expository.
She also shines on “Song For Helena”, witha simply gorgeous arco line that engages Mitchell intoa soaring unison. Suddenly, she shifts into a deftpizzicato to dance alongside Reed’s featherybrushstrokes. Her sense of groove is impeccable.
The album is gloriously well-paced. Each selection
seems to end too soon and leaves the listener anxious
to embrace the next. Oftentimes, the big names of anallstar cast fail to deliver. This is not one of those times.
For more information, visit astralspiritsrecords.com. Nicole
Mitchell is at Zankel Hall Feb. 24th. See Calendar.

Standards and My SongsRon Jackson (Roni Music)
by Anna Steegmann

G uitarist Ron Jackson, born in 1964, began playing at

9 and first performed at 15. At first, his idols were rockguitarists, but once he fell under the spell of Wes
Montgomery, George Benson and Pat Metheny, henever turned back. Jackson has made a name as aplayer, composer, producer, arranger and instructor.
Standards and My Songs, his ninth album as aleader, is a sequel to 2019’s Standards and Other Songs.
He adapts standards, pop, soft rock and R&B tunes tojazz and is joined by Ben Wolfe (bass), Willie Jones III(drums) and for two tracks by Brian Ho (organ) andone by Clark Gayton (trombone). The cover shows
him, a big smile on his face, and boldly states, “7
STRING JAZZ GUITAR”. He demonstrates why he has
become one of the instrument’s major champions.
The album opens with an upbeat, joyous, jazzy
take on the 1972 Looking Glass hit “Brandy (You’re aFine Girl)”, striking for its gorgeous tone and greatgroup interplay, followed by “Walk Fast”, full of
postbop liveliness. Jackson calls “From Dust to Dawn”,
at seven minutes the longest track on the recording,“Freddie Hubbard-inspired”. He thinks highly of
Bucky Pizzarelli, who encouraged him to take up the
7-string, and Pat Martino. Both passed away in recent
years and Jackson pays tribute: “This Nearly Was
Mine” in homage to Pizzarelli while luminous “ForPat” is freely modeled after Martino’s ballad “Country
Road”. A hip-hop groove livens up a dynamic
interpretation of Charlie Parker ’s “Moose the Mooche”
while Quincy Jones’ “The Secret Garden (Sweet
Seduction Suite)” is slow and sultry, as is a solo guitar
version of “Time After Time”. “She Is Love”, co-writtenwith his wife, Michelle Etwaroo, shows his soulful
side. Gayton invigorates the calypso “Roundabout”
with his gorgeous playing.
For more information, visit ronjacksonmusic.com. This
project is at The Django Feb. 25th. See Calendar.

Tribute a Juan Formell & Los VAN VAN
Dayramir González (Unicornio)
by Russ Musto

The latest effort from Cuban-born pianist Dayramir

González is an ambitious project. It celebrates the 50th
anniversary of his native country’s most popular bandwith new arrangements of compositions penned by thegroup’s bassist-bandleader, the late Juan Formell,
performed by a 15-piece ensemble augmented by thechamber orchestra La Camerata Romeu led by Zenaida
Castro and a host of invited lead singers andaccompanying backing vocalists.
The songs here mirror Los Van Van’s expansive
genre fusing of traditional Cuban forms with jazz,rock, funk and European classical musical flourishes.
Things begin with “Tu Decisión, Cuál Es”, vamping

acoustic and electric pianos piloting strings and thetitular vocal coro, which give way to high-flying flute,alto saxophone and trap drum solos. Soñero Alain
Perez, best known for his tenure with Jerry Gonzalez y
Los Piratas Del Flamenco, is out front on “Mis Dudas”,
delivering a powerful lead vocal in a call-and-response
pattern with the two male-two female coro, culminatingwith riffing charanga-styled violins. Piano elegiacallyintroduces “Este Amor Que Se Muere”, a feature forthe stirringly commanding vocal of Luna Manzanereson a bifurcated outing: it begins as a plaintive bolero
then segues into a dancing mambo. “Anda Ven Y
Muevete” has David Blanco and Michel Herrera in the
spotlight, exhorting listeners to “come on and move”.
String quartet and Bárbarito Torres’ lute beautifully
open “Todo Se Acabo” with Teresa Yanet’s vocal paying
a personal tribute to Formell.
A carnival-esque atmosphere prevails on “Deja La
Bobería”, with Mandy Cantero’s commanding vocal
conveying an energetic invitation to forget foolishness
and join in the festivities. Los Van Van’s longtime
soñero Mayito Rivera duets passionately with Arlenys
Rodriguez on “Si No Quieres Tú” and shares duties
with Cubana rapper Telmary Díaz on the rollicking“Marilú”. Los Van Van’s Mandy Cantero and Azúcar
Negra’s Haila Mompié mix vocals and González
stretches out “El Guárarey De Pastora” while The
Buena Vista Social Club theme “Chan Chan” is given
an epic treatment with Los Van Van vocalist Abdel
Raslaps (Lele) joining forces with Rivera, Díaz,
González and percussion ensemble Rumba Pelladito.
The date closes solemnly with “Orun A Formell”,
Brenda Navarrete intoning a Spanish language prayer
and Yoruban chant celebrating Formell.
For more information, visit dayramirgonzalez.com. González
is at Chelsea Table & Stage Feb. 25th. See Calendar.

Evidence Based
Claudia Quintet (Flexatonic)
by Brian Charette

In the album notes for the new Claudia Quintet album

from enigmatic interviewer and poet Jason Crane, welearn that the album addresses the interaction of artsand politics. The track titles come from words theCenters for Disease Control discouraged from use in2017. Poet Eileen Myles adds spoken word to thespooky tracks. The recording has a very live feel, which
provides an interesting foil to the unprocessed vocals.
The album opens with the title track, an unusual
muted snare from drummer John Hollenbeck popping
against the angular accordion of Red Wierenga. Offbeat
hits continue under the lyrical melodies of vibraphonist
Matt Moran, with tenor saxophonist Chris Speedfalling in and picking up the riff. “Transgender” fades
in with cymbal washes and a Speed clarinet ostinato
alternating two notes, which gently morph to make thechanges. The accordion melody has long tones thatfloat airily over the churning band punctuated bysticky cymbal strikes. “Fetus” has creepy electronic
stirrings under meandering vibraphone and bass
(Drew Gress) in unison, accordion holding low drones
in a Hindustani vein; the surprise entrance of the poemat the golden ratio point quickly dissolves into scant
electronics. “Science Based” has a melody thatsurrounds Myles’ poem with a gorgeous near-waltz.
Hollenbeck is spot-on and understated as he builds
intensity with Speed’s long tones and Moran’s repeatedfigure. Wierenga takes a lovely solo for just a few bars
then hands it off to Speed with cross-rhythm drums
underneath. “What is the name of this Piece” has acomedic lilt with big intervals in the melody. Gress
picks his spots with minimal lines, coming in at justthe right place to anchor the group. The track coalesces
in a unison melody that Hollenbeck gets to work out
on before a terrific bass solo over dissonant chords thatfade in and out. A repeated figure gives Hollenbeck
great support for his most active solo on the date.
For more information, visit johnhollenbeck.bandcamp.com.
John Hollenbeck is at The Owl Music Parlor Feb. 24th andNational Sawdust Feb. 27th. See Calendar.

UNEARTHED GEM

British Conversations
Graham Collier (My Only Desire)by Andrey Henkin

This is a companion to My Only Desire’s 2020

release Love and Understanding by Mike Westbrookbut even more interesting: both live recordings fromthe mid ‘70s of commissioned pieces by Swedish
Radio from accomplished British composers withcompatriot soloists out front of the Swedish Radio
Jazz Group. But while Westbrook’s suite waspreviously available as a later studio recording, thismusic from the late Graham Collier, who was born
85 years ago this month, is heard for the first time.
The Swedish Radio Jazz Group, 15 strong in thisincarnation, includes such notable figures as Arne
Domnérus (alto saxophone, clarinet), Lennart Åberg
(tenor and soprano saxophone, flute), Rune
Gustafsson (guitar), Bengt Hallberg (piano), Georg
Riedel (bass) and Egil Johansen (drums). Collier, by
the time of this Feb. 27th, 1975 concert, was alreadyover a decade into a career as a composer/bandleader
and brings along two veterans of his groups:
Barbadian trumpeter Harry Beckett, one of Britain’s
most versatile players, and guitarist Ed Speight, who
would work with Collier until the composer’s deathin 2011. Adding the noteworthiness of the release isthat this becomes the first instance of Collier
applying his composing to a large ensemble.
The 50-minute title suite is in five parts:“Red Sky In The Morning”, “Clear Moon”, “HaloRound The Sun”, “Red Sky At Night” and “Mackerel
Sky”, all colorful expressions for meteorologicalphenomena. The first part is a light fusion of rockrhythms and soaring horn lines, mellowing out forsolos from Beckett and Speight. “Clear Moon” isquietly atmospheric, acting as connective tissue forthe next movement, which brings back the feel ofthe opening section but at a busier pace. The closing
two movements are quite a contrast: “Red Sky At
Night” is slow, sparse and highly abstract, segueing
into “Mackerel Sky” via a bass duet of Riedel(acoustic) and Stefan Brolund (electric). Speighttakes an epic solo over chunky rhythms, which leads
to a drum solo quieting almost to silence before
introducing a tight swing feel. The whole band
reenters with what sounds like a different song, aperky foundation for Beckett to fly over the changes.
For more information, visit myonlydesirerecords.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 21

Field of Action / contraposition
Eric Wubbels (Out Of Your Head)by Kurt Gottschalk

F or a composer as endlessly fascinating as he is, Eric

Wubbels is woefully under-recorded. Field of Action /contraposition continues Wubbels’ series of piano duos
though the term “duet” seems a bit off the mark; theamount of voices (human and instrumental) and sonicmanipulation suggest things more encompassing than
two people with tools.
The album begins with a 5 1/2 minute blast welldesigned to weed out the weak, the first of the six parts
that comprise “Field of Action”, a variegated suite
performed with vocalist/electronicist Charmaine Lee.
The pair discover a surprising breadth of sonicpossibilities, some disarmingly delicate. It is not aneasy listen (Lee’s work rarely is) but with her use ofmultiple microphones to capture her voice andbreath—both projected and from within her throat—and Wubbels employing both piano and synthesizer,
the music is fascinatingly nuanced and textured.
“contraposition” was also created in conjunction
with its co-performer, trombonist Weston Olencki. It
gives the impression of a more notated piece, but such
speculation does little to aid in absorbing the four
dense sections. It also includes more of Wubbels’

stunning piano technique, from careful application ofstring preparations to artful tears executed with
Conlon Nancarrow-like precision. But those passages
seem somehow like halls in a museum, getting us to
the next discovery, the next gallery of trombone
overtones and foundation-threatening piano resonance.
The final section of “Ccontraposition”, “NEGATIVE”,
builds to some shockingly loud multiphonics from
Olencki, reverberating (it seems) from within the pianocase. Field of Action / contraposition doesn’t just reward
multiple listens, it demands them.
For more information, visit outofyourheadrecords.com.
These projects are at Roulette Feb. 28th. See Calendar

A Horizon Made of Canvas
Jeremiah Cymerman/Charlie Looker (Astral Spirits)
by George Grella

If Morton Feldman were a heavy metal musician, his

stuff may have sounded like the projects that come outof the imagination of clarinetist Jeremiah Cymerman.
This album is a close relation to the music of Blood
Mist, the collective doom music ensemble of which
Cymerman is part. While Blood Mist makes music thatis threatening precisely because it is quiet and spacious,
this album with guitarist/pianist Charlie Looker veils

provocations behind more specific forms.
Still though, this is ambient sonics as doom music
and for those attracted to that kind of thing, it is great,
great stuff. Rather than a wall of sound, Cymerman
and Looker work with what at times seems like endlessspace, taking great care with when and how often theyplace musical events. Working with chordal
instruments, Looker sets out tiny sequences and stacks
of notes that define fundamental structures. Meanwhile
Cymerman plays keening, yearning notes over andrumbling tones under, shifting to extended techniques
and back. There aren’t any melodies or even lines, juststatements, events, actions.
The most pointed track is “I’ll Show You What You
Are”, with guitar sounding like Howard Shore’s
tremendous theme for Crash while clarinet cuts throughwith split-tones and multiphonics and there is agrumbling sine wave tone that rolls in and out. The
production—or Cymerman’s pedals—engenders a richand deep sound. Looker ’s playing often seems to bea pond into which Cymerman heaves himself, aesthetic
gestures as tones that ripple across the listening fieldand deep into the music.
If this all sounds threatening, well, it very much is.
This is dark music, dark precisely because it originates
in and is controlled by human bodies. There is signal
processing but the sounds, and darkness come out of
not electronics but the players themselves. But it is also
beautiful music, not cathartic so much as enriching in
how it lets the listener stare into the darkness, go insideand beyond it. Jazz, not in any way. Improvised, yes.
Doom, absofuckinglutely.
For more information, visit astralspiritsrecords.com.
Cymerman is at Freddy’s Backroom Feb. 1st and IRL Feb.
28th. See Calendar.

LIBRA RECORDS CELEBRATESITS 25TH ANNIVERSARY!!
Libra Records is an artist-owned label dedicated to the near limitlessmusical and creative vision of its two highly prolific and creative
cutting-edge founders, pianist/composer Satoko Fujii andtrumpeter/composer Natsuki Tamura.

NEW ALBUM“Mysterious, haunting and startling.” —Larry Appelbaum, JazzTimes“[Fujii is] a virtuoso piano improviser, an original composer anda bandleader who gets the best collaborators to deliver.”– John Fordham, The Guardian“Tamura has entered territory that no one has ever explored.”—Masahiro Imai, Musen to Jikken

2022 Releases

2021 Releases

Summer Tree
(Libra 101-070)

Taiko Saito - marimba, vibraphone
Satoko Fujii - piano, voice

Natsuki Tamura trumpet, piano, wok
Satoko Fujii –voice (“Summer Wind”)

Underground

MosaicNatsuki Tamura - trumpet
Satoko Fujii - piano
Takashi Itani - percussion, drums

Piano Music

Satoko Fujii - piano

KOKI SOLO

Natsuki Tamura - trumpet,
piano, wok, voice

Moon On The Lake

Satoko Fujii -piano
Takashi Sugawa - bass, celloIttetsu Takemura - drums

KeshinNatsuki Tamura - trumpet
Satoko Fujii - piano

Hazuk

Satoko Fujii - piano

BeyondTaiko Saito - vibraphone
Satoko Fujii - piano

THE NEW YORK CITY
JAZZ RECORD

2021 MUSICIANSOF THE YEARSATOKO FUJIILIBRARECORDS.COM | NATSUKITAMURA.COM | SATOKOFUJII.COM

22 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORDMARIO ALLARD, (SS, AS, CL), BENJAMIN DESCHAMPS (SS, TT, FL),
ANNIE DOMINIQUE (SS, AS, CLB), JACQUES KUBA SEGUIN (TP),THOMAS MORELLI-BERNARD (TB), FÉLIX STÜSSI (P), ALAIN BÉDARD (CB),MICHEL LAMBERT (DRS)

VIRTUAL - CONCERT / ALBUM LAUNCHIN FEBRUARY 2022
TO KNOW MORE ABOUT JAZZLAB ORCHESTRA
jazzlaborchestra.com
facebook.com/JazzLabOrchestrapress.effendirecords.com/alain-bedard/jazzlab

TrioGene Pritsker (Composers Concordance)
by Elliott Simon

G rand sweeping musical vistas and elegantly focused

nuance are no problem for guitarist Gene Pritsker. He
is a film soundtrack orchestrator and composer and his
credits include the recently released The Matrix
Resurrections (WaterTower Music). At the crossroads ofsymphonic jazz, world music and Leonard Bernstein
he and conductor Kristjan Järvi founded the classicallyinformed Absolute Ensemble and his Sound Liberation
project is an urban adventure where all genres arewelcome. On top of all this, Pritsker is a prodigious
guitarist and on Trio he unapologetically shows off his
chops in the context of his other abilities.
The music is primarily guitar driven fusion and on
opener “Elements” a thoughtful arrangement andquick changing tempos highlight Pritsker ’s style.
Joining the Vienna-based session are electric bassist
Clemens Rofner and drummer Simon Springer. Like
Pritsker, both are multifaceted players and Rofner ’s
melodicism with Springer ’s crisp cymbal work shineon this very accurately detailed recording. Pritsker
puts the three instruments together like puzzle pieces
seamlessly fitting in myriad ways. The result is a voicethat is much bigger than one would expect from a trio.

On both “Born Free” and angular ”Encomium”
Pritsker kills it with searing yet melodic playing before
he turns it over to Rofner and Springer, who carry thesong in new directions . “Bach’s Blues” is a reimaginingof the composer in a scorching bluesy setting while“Granite” is a funky rhythmical triumph, Pritsker
effortlessly moving from soloing to comping. “Difficult
to Imagine Nothingness” features Dave Taylor ’s bass
trombone in a beautifully flowing milieu and closer“Cold as I Am” is a wonderfully misterioso vehicle for
vocalist Stefanie Egger, who artfully straddles jazz andpop until Pritsker comes in with a surprisingly intense
rap to steer the tune to an anthemic ending.
For more information, visit genepritsker.com. Pritsker is at
Chelsea Table & Stage Feb. 11th and 27th. See Calendar.

Every Note Is True
Ethan Iverson (Blue Note)by George Kanzler

In the five years since he left the trio he founded overtwo decades ago, The Bad Plus, pianist Ethan Iverson
has pursued a variety of projects, from symphonicmusic and scores for ballet to working in the quartet of
drummer Billy Hart and with a quartet of his own withtrumpeter Tom Harrell. He has also recorded a tributeto Bud Powell. This is his first return to the trio format,
featuring his own pieces, save one. His trio mates are
bassist Larry Grenadier and drummer Jack DeJohnette.
The title phrase appears at the conclusion of the
opening track, piano accompanying a 44-voice choir,
all recorded remotely over telephones, with the refrain“The more it changes, the more it seems the same.”That short track is followed by eight trio and one solo
piano track. Iverson’s command is extraordinary; hehas mastered the art of never playing too much while
fully realizing a complete musical world. Every noteand chord he plays resonates fully, illuminating thepieces. It is at once an extension of, and much morethan, the pop/rock hooks approach of The Bad Plus.
Instead of the young rhythm colleagues on thatearlier band, Iverson has veterans Grenadier and
DeJohnette, more nuanced and attuned to creative
spontaneity. Their participation fully complements the
pianist’s concepts and playing, whether processionaltime on the hymn-like “The Eternal Verities”, martial
beats of “She Won’t Forget Me” or snappy swing of theFats Waller-inspired “Goodness Knows”. After a slow,
ruminative and through-composed piano solo, “Had I
But Known”, the band climaxes the album with a trioof swinging tracks. “Merely Improbable” is an“I Got Rhythm” changes piece at a loping swing tempo,
Iverson’s solo highlighting contrasting right- and lefthand phrases. “Praise Will Travel” is built on a repeatedfour-followed-by-five note riff, explored in Iverson’ssolo as the rhythm ranges increasingly freely. The trio
takes it out with a long (nine-plus minutes), penetrating
blues, “At the Bells and Motley” (an Agatha Christie
story title) with a deep, funky vibe.
For more information, visit bluenote.com. This project is at
Roulette Feb. 11th. See Calendar.

HARLEM SCHOOL OF THE ARTSOPENS BLACK HISTORY MONTH WITH A

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Featuring Jazz Royalty

T.S. MONKSATURDAY FEB. 5, 2022 @ 3PM
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THE HERB ALPERT CENTER
645 Saint Nicholas Avenue • New York
Masks and proof of vaccination required

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Charitable Foundation with additional support from The Andrew W. Mellon Foundation.

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 23

ReelsMatthew Shipp/Whit Dickey (Burning Ambulance Music)
by John Sharpe

Although collaborators for a long time, Reels is thefirst duet between pianist Matthew Shipp and drummer
Whit Dickey. And in spite of Shipp’s copious output,
it is only his third duet with a drummer following
encounters with Guillermo E. Brown in 2008 and Bobby
Kapp in 2016. Still, he has capped the sequence witha corker. On a studio session comprising ten
improvisations, the pair demonstrate the benefits of ashared backstory, which takes in Dickey’s extended
sojourn in the pianist’s trio as well as both men’s
tenure in esteemed saxophonist David S. Ware’s classic
quartet from 1992-96.
Shipp remains one of the most distinctive players
active today. Paradoxically he slants more consistently
rhythmic with Dickey than he does when solo for
instance, as if spurred to give vent to something primalby the drummer ’s presence. That offers Dickey the
choice of whether to stick or twist. As it happens, hedoes both. He implies momentum indirectly by
weaving a multi-directional spell around Shipp’s lines,
whether the stomping pummeled motifs of “Cosmic
Train”, where they join in lurching syncopation, or
hypnotic near grooves of “Hold Tight” where Shippenters the arena in which Craig Taborn also excels.
At other times Dickey tackles the beat head on,
furnishing a forceful processional feel to Shipp’s
sustained bass rumble on “Vector”, but also setting thepace himself as on the title cut when he launches intoa martial boogaloo, which finds Shipp falling into stepalongside. Then there are places like the gentle
introductory opener “Lattice”, Shipp’s lyrical rippling
variations establishing the foundations, over which
Dickey explores increasingly complex yet transparent
patterns, or the final “Icing”, where they work in tandem
to maintain a spacey somber mood. It is a fine addition
to both men’s discographies, showing that in the mostproductive exchanges, each tempers their expression towhat the other is doing in pursuit of the greater good.
For more information, visit burningambulancemusic.bandcamp.com.
Dickey is at Scholes Street Studio Feb. 19th. See Calendar.

Live at No Black Tie - Kuala Lumpur
Jeremy Monteiro/Jay Anderson/Lewis Nash (JazzNote)by Scott Yanow

It has long been true that high-quality jazz performers

exist all over the globe. Jeremy Monteiro, a pianist
from Singapore, has a swinging modern mainstreamstyle that is in the tradition of Oscar Peterson andMonty Alexander while not being a copy of either. In
his career he has led over 40 albums, recording not
only in Singapore but also in Thailand, Switzerland,
Florida and Los Angeles and he has been a sideman ondates by Ernie Watts, Eden Atwood and Ernest Ranglin.
Most often, Monteiro has been featured with trios.
On his most recent CD (No Black Tie is the name of a
popular venue in Singapore), which was recorded in2018, he teams up with two Americans: bassist Jay
Anderson and drummer Lewis Nash. The set is fourstandards and five originals, including tributes to James
Moody and the team of Eldee Young and Redd Holt.
Monteiro’s solid sense of swing, occasional bits of
wit and ability to make familiar songs sound fresh arevery much in evidence on Dave Brubeck’s “In YourOwn Sweet Way”, a hard-swinging “Just In Time” anda tender “Prelude To A Kiss”. Although his “Mode For
Love” does not necessarily sound like a James Moodytune, one could imagine Moody having a good timewith it. Of the pianist’s other originals, the thoughtful
ballad “Josefina” is a contrast to the soulful midtempo“Mount Olive”. The latter recalls Monteiro’s earlier
recordings with bassist Young and drummer Holt,
former members of the Ramsey Lewis Trio. After his
introspective ballad “Life Goes On”, the set concludes
with the modal piece “Monk In The Mountain”(Monteiro hinting at McCoy Tyner) and an infectious
rendition of “Watermelon Man”.
Anderson and Lewis both get opportunities to takesolos along the way but the main focus is on the pianist.
Monteiro shows throughout this CD that he deserves
much greater recognition and that he can hold his own
with his American counterparts.
For more information, visit jeremymonteiro.onuniverse.com. Jay
Anderson is at Roulette Feb. 20th with Jay Clayton. See Calendar.

Diane Delin

Chicago Standard Timefeaturing Jodie Christianwith Kelly Sill and Steve Davis

MULTI LATIN GRAMMY® AND GRAMMY® NOMINEEPIANIST, ARRANGER AND COMPOSER ANTONIO ADOLFOPRESENTS HIS NEW RELEASE JOBIM FOREVER“A Brazilian breeze.” – JazzWeekly - UK
“Another gem of an album from Adolfo, offering just a slice ofmusical mastery that might well have the late bossa nova
master smiling from above.” – allaboutjazz.com
It was 1959. At some point, I was taken in by something magical thatcame through that car radio: it was the song “A Felicidade”, by Jobim and
Vinícius de Moraes, which had been composed for the film Black Orpheus.
It gave me a feeling I had never experienced before, a true and profound“love at first sight”. From then on, still at the age of 12, I started to pursuethat sound passionately. I found out that behind that magical sound there
were other factors. There was a whole generation, which includedJoão Gilberto, Roberto Menescal, Carlos Lyra and that entire group ofmusicians who created a style that came to be known as Bossa Nova.
That was the world I wanted to be part of. – Antonio Adolfo

ANTONIOADOLFOMUSIC.COM
24 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD“Violinist Diane Delin moves through musical ideas withsuch grace” Aaron Cohen, Downbeat Magazine

www.blujazz.com

www.dianedelin.com

Wandersphere
Borderlands Trio (Intakt)
by George Grella

J azz is a unique combination of modernist and popular

music, but the history of it has been lopsided, witha far more extensive incorporation—and subsequentelevation—of popular music than of the developmentsof Western art music. The latter has been almost
predominantly confined to pulling in ideas from theearly 20th century Western art music modernism ofStravinsky, Schoenberg, Bartók and Debussy.
But there is another modernist path that runs
though Varése, Xenakis, Cage, Feldman and the like,full of ideas that seem worthwhile for jazz. Borderlands
Trio—pianist Kris Davis, bassist Stephan Crump anddrummer Eric McPherson—work with some of theseideas in a jazz context. That makes them important andthe quality of their second album, Wandersphere, makes
them musically fantastic.
The trio plays around with timbre and spacewithin a recognizable jazz idiom. Significantly, Davisplays a great deal of prepared piano. The sound alone
opens up the imagination to the world of Cage’s
Sonatas and Interludes to Pärt’s Tabula Rasa and beyond.
The music is improvised and these players are mastersof finding their way to repeatable rhythmic and

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harmonic patterns balancing form against freedom. An
essential part of that, the listener feels, is the musicians
give space for the altered timbres of the piano to sound,listening and working precisely in clearly circumscribedniches and moments. As with Varése, timbre becomesa structural and formal element and it is profoundly
exciting to hear jazz musicians wield this concept as anorganizational means.
The listening is almost palpable, each empty space
grips the ear as it waits for someone to outline a smallpart of it with a sound. The concentration means that
there are moments that are breathtaking, like thetransition from timbres to grooves in “Super-Organism”
or locked-in rhythm the trio create together, on thespot, in “Possible Futures”. This is some of the finest
improvising across all genres one will hear and one of
the more important jazz releases of the 21st Century.
For more information, visit intaktrec.ch. This project is at
The Jazz Gallery Feb. 4th-5th. See Calendar.

Law Years: The Music of Ornette Coleman(Live at the Birds Eye Jazz Club)
Miguel Zenón (Miel Music)
by George Kanzler

We had never heard anything like it when Ornette

Coleman brought his white plastic alto saxophone andquartet with Don Cherry playing what looked like a
toy trumpet to The Five Spot back in 1959. It was
Coleman’s album, The Shape of Jazz to Come, come tolife. The two horns played over churning, pulsating
rhythms from bass and drums, with no anchoring
chords from a silent, playerless piano, quirky fast lines
with catchy melodic hooks, or slow, mournful ones likechoral dirges. Their solos, unmoored from chord
changes, resembled bebop runs and yet did not. It was
mysterious yet captivating music, impossible not tohear as something new and unique.
The extended dozen years dating from that Five
Spot engagement continue to fascinate musicians. The
music from that time was explored by many, including
Old and New Dreams, a two horns-bass-and-drums
quartet featuring alumni of Coleman’s early bands.
And now alto saxophonist Miguel Zenón has released
his own take on Coleman’s music from that period.
The date was recorded live at the Bird’s Eye Jazz
Club in Basel, Switzerland in May 2019. The band,
which had never played together before (although
individually with Zenón), was internationallyHispanic. Zenón is Puerto Rican, tenor saxophonist
Ariel Bringuez is Cuban, bassist Demian Cabaud isArgentine and drummer Jordi Rossy is a Catalan from
Spain. Except for “Free”, a track based on one of the
fanfares from the double-quartet album Free Jazz
(1960), the music consists of tunes from Coleman’s
early acoustic bands, from trio and quartet to sextet.
The four delve into the tunes with alacrity andverve, parsing the distinctive melodies and improvisingwith élan and spirit. Those tunes remain inimitableand distinctive after half a century, from the jingle-like“Dee Dee” and brightly singing title track to the kinky“Giggin’” and hauntingly mournful “Broken
Shadows”. This album shows how much Coleman’smusical ideas have been assimilated into what is now
a truly international jazz community.
For more information, visit miguelzenon.com. Zenón is atMiller Theatre Feb. 12th. See Calendar.

DROP THE NEEDLE

Byrd in Paris
Parisian Thoroughfare (Byrd in Paris, Volume 2)
Donald Byrd Quintet (feat. Bobby Jaspar)(Brunswick-Sam)by Duck Baker

In early July of 1958, trumpeter Donald Byrd

traveled to Europe with an allstar caliber quintet ofyoung hardboppers. The 25-year-old Byrd was
already a seasoned veteran in jazz terms, having
appeared on some 70 record sessions over the past
3 years, including dozens of real classics.
The group hit the ground running, performingfrom the Black Forest in Germany to the north ofBelgium to the French Riviera during their firstweek and seems to have kept busy all the way until
the end of October while Byrd studied with
Nadia Boulanger in Paris. It is surprising that theirconcert at the Olympia on Oct. 22nd seems to havebeen their first performance in the City of Light,
but that is how the event is described in theenjoyably breathless liner notes on these beautifully
produced LP reissues.
Certainly the band was in perfect sync by thistime (and we will soon be able to compare how theysounded at the beginning of this sojourn, as Sam
Records is set to release a previously unheard
recording of the quintet’s concert at Cannes on Jul.
11th). The liners note that only Bobby Jaspar (Feb.
20th, 1926 - Feb. 28th, 1963) was known to theParisians, since the Belgian tenor saxophonist/
flutist had lived in the city from 1950-56. That Jaspar
was a world-class player had already been
demonstrated and his soloing on both axes here isconsistently rewarding. On tenor he can evoke
Sonny Rollins one minute or Zoot Sims the next, but
he was always his own man.
Byrd, on the other hand was always a Clifford
Brown disciple, though not a mere mimic; he founda way to tell his own stories using the master ’slanguage, much as Barry Harris did with Bud
Powell. One could argue that pianist Walter Davis,
Jr. had the most original solo voice here and his
contributions as an accompanist are invaluable (hedoes get repetitive on some of his longer solos, atendency he would leave far behind in his later
years). Of bassist Doug Watkins and drummer Art
Taylor little need be said, except that they play up to
their usual high standards.
Byrd seems to have tailored the program to suitthe European audiences, focusing on intelligent
arrangements of modern jazz standards fans would
recognize like “52nd Street Theme”, “The Blues
Walk”, “Two Bass Hit”, “Salt Peanuts” and inevitably“Parisian Thoroughfare”, which gets an elaborate,
humorous
treatment.
The
trumpeter
also
programmed
three
originals:
Jaspar ’s
autodescriptive “Flute Blues”, his own minor-key
burner “At This Time” and “Formidable”, Davis’
tasty contrafact on “There Will Never Be AnotherYou”. One can certainly see how exciting this music
was at the time and it all holds up very well, thoughgiven Byrd’s extensive discography we can’t reallycall it essential. Vinyl buffs will definitely wantthese anyway; they look and sound great.
For more information, visit samrecords.fr

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 25

Chicago Standard Time (featuring Jodie Christian)Diane Delin (Blujazz)by Alex Henderson

JAY
CLAYTON
80th Birthday Celebration
Sunday February 20th 8pm
Roulette
509 Atlantic Avenue, Brooklyn, NY 11217
with Ed Neumeister, Gary Versace,
Jay Anderson and Billy Drummond“Clayton is an important singer…one who proposed dramaticchanges in vocal styles and roles…her musicianship is impeccable.”—Francis Davis, Downbeat“As far as vocal innovation goes, Jay Clayton isprecariously on the cutting edge.”—Fred Bouchard, Jazz Times“Still the most adventurous singer in jazz, a specialist in wordless
improvisation who’s also expert in distending and finding newmeanings in the melodies and lyrics of classic popular songs.”—Francis Davis, Village VoiceA decade this month has passed since the death of

pianist Jodie Christian at 80. A fixture on the Chicago
jazz scene for many years, Christian, a founding
member of the Association for the Advancement ofCreative Musicians, had no problem playing avant
garde jazz but focused heavily on hardbop andpostbop. This previously unreleased CD, recorded in
1991, finds him in a quartet led by Chicago-based
violinist Diane Delin; rounding out the lineup are
bassist Kelly Sill and drummer Steve Davis.
The only track that isn’t a standard is the opener“For the Moment”, a vibrant Delin original with astrong Brazilian flavor. The four selections that follow
are Don Redman’s “Gee Baby, Ain’t I Good to You”,
Frank Foster ’s “Simone”, Billie Holiday’s “God Blessthe Child” and George Gershwin’s “They Can’t Take
That Away From Me”. It is an interesting combinationof songs, a mix of standards from the pre-bebop era to
the early ‘70s modal gem “Simone”.
Delin and Christian are highly compatible,
swinging yet highly lyrical on “Simone”. The
combination of acoustic piano and violin puts a fresh
spin on the familiar “God Bless the Child”. And while
it wouldn’t have been surprising if Delin had emulated
Stuff Smith or Stéphane Grappelli on the Redman orGershwin tunes she takes the songs into postbop.
During the COVID-19 pandemic in 2020, Delin
was going through some old tapes when she cameacross this recording and decided that it needed to bereleased; Blujazz, thankfully, was interested. It is great
to have this music available after so many years.
For more information, visit blujazz.com

I Will Never Stop Loving You
Kirk Lightsey (JoJo)
by Joel Roberts

Back in the day, Kirk Lightsey was one of the busiest

and most in-demand pianists on the scene, playing
with a who’s who of jazz royalty including Chet Baker,
Woody Shaw, Kenny Burrell, Pharoah Sanders andDexter Gordon and releasing a number of well-received
albums. But for the past 30 years or so, he has
maintained a lower profile, at least in the U.S., whileliving in Paris. All of which makes Lightsey’s latest
release, an intimate solo recital, somewhat of arevelation, or at the very least a reminder of what awonderful musician he is. The inside cover includes
the quote, “My whole life seems to be about the lessonof patience.” It is a lesson the Detroit native, who turns
85 this month, has certainly learned well. The album ison the brief side, at just 37 minutes, but there is not awasted note or thoughtless chord to be heard on thewell-curated set of seven tunes, all of which he hasrecorded in the past and knows inside and out.

26 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD

Lightsey has a warm, light touch and frequently
takes off in unexpected directions, from his decidedly
Monk-ish turn on Wayne Shorter’s “Fee-Fi-Fo-Fum”(one of three Shorter tunes covered) to the unusuallysubdued, halting pace with which he tackles the John
Coltrane classic “Giant Steps”. And for sheer unvarnished
beauty, it is hard to beat his readings of the title track (anobscure Nicholas Brodszky-Sammy Cahn tune DorisDay sang in the 1955 movie Love Me or Leave Me) or Phil
Woods’ poignant tribute to Bill Evans, “Goodbye Mr.
Evans”. There is a passion and genuineness to everything
Lightsey plays here on a magnificent Fazioli piano. The
only complaint is that it is over too soon.
For more information, visit jojorecords.com

Poof
Henry Threadgill Zooid (Pi)by Stuart Broomer

Together for 20 years, Zooid is among the longest-lived

bands in current jazz, a stellar chamber group thatmatches Henry Threadgill (alto saxophone, flute andbass flute) with Liberty Ellman (acoustic guitar), Jose
Davila (tuba and trombone), Christopher Hoffman(cello) and Eliott Humberto Kavee (drums). Its lastalbum, In for a Penny, In for a Pound, had the extraordinary
distinction of winning the 2016 Pulitzer Prize in music,
placing Threadgill (who turns 78 this month), andZooid, both as concept and ensemble, in very rare air for
any improvising ensemble. Poof is its equal in matters ofrefinement, complexity and soul, yes, soul, for as muchas Threadgill has created a kind of ideal amalgam ofchamber music textures with a brilliant integration ofcomposition and improvisation, his alto sound is a raw
emissary from the worlds of Ornette Coleman and theblues, recalling Threadgill’s longstanding rank as
master of a kind of hyperkinetic free funk.
Opener “Come and Go” begins with a scatteringof lines, immediately introducing the unlikely timbral
combination of tuba, cello and acoustic guitar in musicat once tightly coordinated and seemingly random, ananti-pattern sustained even with the entry of alto as anintense central focus. The mixture of composed andimprovised elements used to achieve that effect is aconstant here, arising as well in “Poof on Street Called
Straight”, a brooding dirge centered on a poignant alto
wail, with empathetic lowest-register blasts from tuba
and a keening solo contribution from cello.
Davila on trombone is the central voice on “Beneaththe Bottom” as it moves through plunger-mutedcomplaint to gently exuberant open play, accompaniedby the closely related sounds of guitar and plucked
cello. “Happenstance” emphasizes the light piquancy
of flute and a quiet interlude of metallic percussion,
which gradually becomes a drum solo of remarkablesubtlety, in turn complemented by dancing guitar lines.
Closer “Now and then” emphasizes tuba and guitar,each developing a kind of delicate, round sound.
Part of what is remarkable about the ensemble isthe effect of a band that has sustained itself for decadeswith such unusual instrumentation. Each is a distinct
voice and as likely to be lead as accompanist. The
almost indistinguishable mix of composed andimprovised elements combines with evanescentstructures and unusual timbres to create dream-liketextures that continue to dance in memory.
For more information, visit pirecordings.com

Fischer—one for each section of Simone’s “Four
Women”, also in a 1990 version on Montreux. Ledisi’s
voice is conventionally richer than Simone, but hercelebration of the iconic singer would best serve as an
introduction and gateway leading listeners to explore
Simone’s incredibly indelible discography.
The Montreux Years
Nina Simone (BMG)
Ledisi Sings Nina
Ledisi (Listen Back Entertainment)by George Kanzler

For more information, visit bmg.com and ledisi.com

Ronnie’s
Directed by Oliver Murray (Greenwich Entertainment)by Kevin Canfield

Thanks to being rejected by the Curtis Institute ofMusic in Philadelphia—to become, in her words, “thefirst great black classical pianist”—Nina Simone , who
was born 89 years ago this month, became one of themost important non-classical musicians of the mid
20th Century.
Coming up as a jazz pianist-singer in the late ‘50s,
first in Atlantic City and Philadelphia, Simone had, by
the early ‘60s, become highly eclectic, incorporating
current pop music, rather than just the American
Songbook standards, into her programs.
That eclecticism reached a peak around the same
timeframe as the Summer of Love (1967) and summerof Woodstock (1969), when she performed at theHarlem Cultural Festival recently celebrated in the
Questlove documentary Summer of Soul.
The second CD of The Montreux Years is a complete
set by Simone’s then-quartet of guitarist Henry Young,bassist Gene Taylor and drummer Buck Clarke,
recorded in June 1968 and it reflects her unabashedeclecticism and embrace of the rock zeitgeist of thetimes. Not only does she revisit two tunes madepopular during the decade by The Animals (she hadrecorded both years before): “Don’t Let Me Be
Misunderstood” and “The House of the Rising Sun”,
she also sings two Bee Gees songs, “Please Read Me”
and “To Love Somebody”, even having her brother,
Sam Waymon, sing harmony with her on the chorus of
the latter. She also follows the former with a songfrom the then-current hit Galt MacDermot-Gerome
Ragni-James Rado Broadway musical, Hair: “Ain’t Got
No, I Got Life”.
Simone was at the height of her vocal artistry in
1968, able to bend and shape her voice from mellifluous
pop to guttural blues. Her rendition of the one
American standard at the concert is unforgettable. She
masterfully renders Jule Styne-Betty Comden-Adolph
Green’s “Just In Time” initially at a deliberate
midtempo, returning after her piano solo, her voice ona different, more ethereal plane embodying the lyric“change me”. She also indulges in some mysteriously
ecstatic “speaking in tongues” scatting on the dour
folk song, “When I Was A Young Girl”. The set lacks
any of her own Civil Rights songs like “Mississippi
Goddam”, but includes a blistering “Backlash Blues”
from the pen of Langston Hughes, and her rousing
version of Billy Taylor ’s “I Wish I Knew How It Would
Feel to Be Free”.
The first CD begins with a nod to Simone’s
obsession with classical music, a piano instrumental of
the Gershwins’ “Someone to Watch Over Me” more
Bach than Richard Rodgers. The CD mixes tracks fromher other four appearances at Montreux (1976, 1981,
1987, 1990). It jumps between years, the curating
making thematic connections, as when she ends Janis
Ian’s “Stars” ad libbing about how “Billie Holiday told
it better”, followed by Simone’s rendition of theHoliday-associated Harry M. Woods tune “What A
Little Moonlight Can Do”.
Simone does Jacques Brel’s “Ne Me Quitte Pas” onboth CDs and Ledisi expands it to include Rod
McKuen’s English lyrics too on Ledisi Sings Nina, thelatest in a number of Simone tributes the R&B singer
has done in the last decade plus. Ledisi also enlists
three other singers— Lizz Wright, Alice Smith and Lisa

ON SCREEN

Tempest Revisited | Ding Dong. You’re Dead.
Hedvig Mollestad (Rune Grammofon)by Franz Matzner

There are no convincing antecedents to Norwegian

guitarist Hedvig Mollestad’s work. The cocktail is so
unique and ingredients drawn from such a diversity ofsources, any attempt to map a genealogy would lookless like a family tree and more like an astronomical
chart. Constellations of power chords, thrashing metaland progressive rock intersect the orbits of effectsdrenched jazz improvisation; minimalist soundscapes
arise and dissipate like elemental vapor; shattering
bursts of dense, chaotic guitar shredding flare over
hard grooves. Whole galaxies of rich sonic texture
swirl. And it is all drawn together by the gravitational
pull of Mollestad, who turns 40 this month.
Tempest Revisited presents the more overt kinshipto jazz structures, though only nominally anddominantly because of the large ensemble comprising
instruments often associated with the genre such as
saxophones, piano and vibraphone. Examples include
tunes like the “kittiwakes in gusts” and “winds
approaching”, the latter diving into a funky feel withblues-inflected saxophone and an amalgam of groove
and swing beats providing fertile ground for solos andtrading. Tempest Revisited, however, does notfundamentally depart from Mollestad’s signatureexperimentation, evidenced by the opening “sun on adark sky”, which begins with a rumble of drums andhaunting vocals like mutated Gregorian chants
followed by additional instruments entering the frayin fractured layers before plunging together into a final
propulsive unity.
Ding Dong. You’re Dead. finds Mollestad in a trio
format with compatriots Ellen Brekken (bass) and Ivar
Loe Bjørnstad (drums). The album bristles with a darkenergy, at times eruptive, at others contained in frosty,
spatially vast musical panoramas. Illustrating this,opener “leo flash return to the underworld” plummets
directly into hard rock drums, driving bass andthrusting guitar worthy of the best metal bands,
interrupted only by a fever pitched guitar solo.
Bookending the album, “four candles” is the mirror
opposite, unfolding rather than racing forward. As if
plucked from the ether notes float, pendulous in acavernous chamber of echoing guitar, soft tom rolls,
cymbal scrapes and subterranean bass. In between, thefount of surprises continues. “All Flights Canceled”
jolts with good ol’ fashioned rock ‘n’ roll beats overwhich Mollestad again screams a solo at the sky.
“Magic Mushroom” hits just as hard but moves in
impressive swerves and eddies. The title track evolves
patiently with heavily spaced guitar, sinuous bowedbass and a dully throbbing rhythm to its somber,attenuated conclusion.
Mollestad and her colleagues have produced a setof undefinable compositions that exist within theirown universe of musicianship, true eclecticism andimagination.

In the ‘50s, British saxophonist Ronnie Scott playedin big bands on transatlantic cruise ships. Whenever
he arrived stateside, the late musician recalls in thisdocumentary, he would make for midtown
Manhattan, where bebop pioneers were reinventing
jazz, starting at the Three Deuces on West 52nd Street,then heading a few paces east to Club Downbeat to“hear Dizzy’s band”. Inspired by the sounds and thescene, Scott decided his home city needed its own
musically adventurous venue. In 1959, he andcompatriot Pete King opened Ronnie Scott’s Jazz
Club in London, where it continues to operate. As
seen in this sometimes terrific film, Gillespie andnumerous other stars have graced its bandstand.
Like many retrospective arts documentaries,
this one, directed by Oliver Murray, is unfailingly
reverent and somewhat flabby; a closing montage,in which members of the club’s current management
team praise one another ’s foresight andprofessionalism, is dull and anticlimactic. But it ishard to imagine the music lover who won’t beenthralled by at least some of the goings-on
chronicled in Ronnie’s, which features thrilling
performances—some of which have never before
been publicly screened—by numerous luminaries.
This footage—coupled with commentary from,among others, Sonny Rollins and Quincy Jones—
augments Murray’s explication of the crucial rolethat Ronnie Scott’s played in postwar British jazz.
In part, Scott’s decision to open a club was areaction to England’s staid mid-century jazz scene,
which was dominated by unchallenging big bands.
He wanted to share his love of bebop and he knewthat if his club were to thrive, he would have toattract top American talent. He did so, welcoming
many greats to his West End venue. The film’s gems
include a hypnotic clip of Buddy Rich in top soloing
form, all four limbs moving at great speed; an
exuberant Ella Fitzgerald, who delights the audienceby namechecking English cities in a swinging
performance; a duet by Van Morrison and Chet
Baker, who find a new degree of wistfulness in
Stephen Sondheim’s “Send in the Clowns”; andblack-and-white clips of Roland Kirk blowing into
three horns during “Here Comes the Whistleman”.
Even music agnostics may have heard of Ronnie
Scott’s: Jimi Hendrix’ last public performance took
place there in 1970. Murray includes audio ofHendrix’ appearance, but the absence of onstage
footage prevents him from devoting as much time to
the guitarist as some would have liked. Scott, who
suffered from severe depression, was 69 when hedied from a prescription drug overdose in 1996.
Murray handles this chapter of Scott’s life—a period
during which botched dental work prevented himfrom playing, hastening his decline—with notable
empathy. When necessary, this is a mournful film, but
nothing can temper the vitality of its performances,making this a hearty ode to a landmark venue.
For more information, visit greenwichentertainment.com

For more information, visit runegrammofon.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 27

Pendulum
Gordon Grdina (Attayboygirl)Klotski
Gordon Grdina’s Square Peg (Attayboygirl)Night’s Quietest Hour
Gordon Grdina’s Haram with Marc Ribot(Attayboygirl)by Tom Greenland

You would think Vancouver-based guitarist/oud player

Gordon Grdina, who turns 45 this month, has enoughoutlets to handle his myriad projects but his three newest
appear on his own imprint, Attaboygirl, co-foundedwith partner/photographer Genevieve Monro.
Pendulum is Grdina’s third solo album, following in
the footprints of 2018’s China Fire and 2020’s Prior Street.
Though best known as a team player, someone who
thrives in the communitarian ethos of the Vancouver
scene, Grdina reveals a more personal side on Pendulum,
exuding restive and relentless energy. “Koen Dori”,“Contra”, “Benbow Blues” and the title track are all
played on nylon-string acoustic using a thumb andfingers technique germane to classical guitarists, only
Grdina’s approach is more jazz-based. His inventions arehighly abstract, his themes not always apparent until
near the end of a track when the logical workings of the‘tune’ may (or may not) become apparent. Any‘harmonies’ are more often implied than stated while hisbass notes and inner tones are a marvel of independent
motion. On “The Chase” and “Wayward” he switches tooud, his style essentially the same except that the pickdoesn’t allow him to pluck notes simultaneously socontrapuntal textures must be effected through deftcross-picking to add bass parts, the hammering strokes
creating a significant increase in rhythmic propulsion
when compared to the other tracks. The instrument’s lackof frets allows him to slide off of certain notes, blurring
their tone centers. Although several of the pieces hover
about the pitch B, whether as a pedal tone or temporary
melodic focal point, Grdina seems to play over andaround tonality, the tracks deriving their coherence frommirrored gestures and cohesive shapeshifting. On“Always Been the Song II”, the closing track, he adopts amore conventional approach by playing a 4/4 rock balladin G Major/E minor, but even here he eschews convention
by adding nonconformist colors.
Klotski, the debut of Square Peg, Grdina with violist
Mat Maneri, bassist/Moog synthesizer player Shahzad
Ismaily and drummer Christian Lillinger, mostly features
him on electric guitar, though he switches to oud forparts of “Bacchic Barge” and “Sulfur City”. Recorded as
one long suite, the eight tracks link seamlessly like achain of Legos, delineated not so much by distinctive
intros and outros as by emergent moments within,moments that could be initiated by any of thecollaborators, growing louder or softer, speeding up or
slowing down, moving through climaxes and lulls witha single mindset. Grdina’s tone is clean yet raw, his
attack incisive yet anarchistic, his improvisatory gesturesin lockstep with Maneri’s similarly active feats ofimagination. Besides mercurial dynamic shifts,
accelerating cascades of sequential motives are employed
to compress and expand the time feel. Ismaily switches
between electric bass and Moog, Lillinger between
rolling textures and harder-hitting figures, neveroverpowering even at his rowdiest. “Sore Spot” contains
layered coughs for humorous effect. “Joyride”, thecloser, is the most tightly structured piece with a 10-beatrhythmic cycle (the last 2 beats slightly shorter than thefirst 8) and a prog-rock-style riff to drive it all home.
Night’s Quietest Hour is by Haram, founded toperform Arabic music with a progressive approach. The
album, the second since 2012’s Her Eyes Illuminate, wasrecorded between two gigs, with Grdina (on oud), Emad
Armoush (vocals, ney), Christopher Kelly (tenor
saxophone), JP Carter (trumpet), François Houle(clarinet), Jesse and Josh Zubot (violins), Tommy Babin(electric bass), Tim Gerwing (darbuka), Liam MacDonald(riq), Kenton Loewen (trap drums) and guest Marc Ribot(guitar). Like its predecessor it features classic repertoirefrom the so-called Golden Age of Arabic music, including“Longa Nahawand” (based on a maqam/mode similar
to the Western natural or harmonic minor scale), “Dulab
Bayati” (based on maqam similar to the Phrygian mode,
but with a half-flat second degree), the much beloved
and covered “Lamma Bada Yatathanna” (also based on
maqam Nahawand) and two hit 45 rpm singles from‘60s/’70s Sudan: Sala Ibn Badiya’s “Sala Min Shaaraha”
and Ahmad Al Jaberi’s “Hawj Erreeh”. Following the
tradition, most of the long-form melodies are played inunison, with slight idiosyncratic variations by each
instrument that thicken the sound, with short connecting
melodies (tarjamah) played by another set of instruments
to fill any gaps, creating an almost constant flow of
melody. Advancing the tradition, the customary darbuka(gourd drum) and riq (frame drum) rhythm section are
beefed up with electric bass and drumkit and instead of
one primary soloist as many as three or four instruments
may solo simultaneously. Two key contributors are
Syrian Armoush, who sings the lyrics in Arabic (as wellas doubling on side-blow flute), and Ribot whose edgy
lyricism adds considerable energy to the proceedings.
For more information, visit gordongrdinamusic.com

Mehmet Ali Sanlıkol

Cuban Butterflies features a tight Latin jazz band…
La Banda Ramirez balances the Afro-Cuban rhythms
with consistently strong jazz soloing. The music, while
always danceable, also rewards close listening and theresult is a set of performances that are both accessible
and creative. Cuban Butterflies is easily recommended.
– Scott Yanow, September 2021
labandaramirez.hearnow.com | metrotang.com

28 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD“...a fascinating fusion of Turkishmusic with contemporary jazz language”- JAZZIZ
Now streaming on all digital platforms& available as CD and download on
dunya.bandcamp.com

They All Be On This Old Road (The Seven Dials Concert)
Elton Dean Quartet (Ogun)
by John Sharpe

British saxophonist Elton Dean, perhaps still best

known for his tenure in early Soft Machine, died
unexpectedly 16 years ago this month while his
longtime comrade pianist Keith Tippett passed away
in June 2020. The reissue of They All Be On This Old
Road, a 1976 live recording by Dean’s quartet from
London’s Seven Dials pub is dedicated to the memoryof both men. It is not just a rehash of the LP as new
material doubles the length of the album to over 79
minutes, giving yet more evidence of the pair ’schemistry, as well as added exposure to theaccomplished team of bassist Chris Laurence anddrummer Louis Moholo-Moholo.
The program, which encompasses originals as well
as standards and a cover, contains ample testimony tothe eclectic backgrounds of the group members. Dean’s
postbop “Edeepub” quickly loosens its moorings when
his slippery alto saxophone wail, informed equally byAlbert Ayler and Ornette Coleman, worries at acorkscrewed phrase over Moholo-Moholo’s machine
gun rat-a-tat and Tippett’s battered keys. Things goeven further left field when Tippett moves into the
spotlight, his Morse code piano tapping out a cipher inthe bottom end, which combines percussive minimalism
and ornery improv, though still reassuringly seasoned
with the occasional outburst of lush arpeggios. But thenafter yet more twists and turns, as if to show theirwidescreen range, they seamlessly slip into a tender
rendition of “Here’s That Rainy Day”.
That is just one of four ballads on the set, each taken
fairly straight and that is not counting a heart-on-sleeve
20-minute version of Coltrane’s “Naima”, which
includes a beautifully impassioned solo from the leader,more wayward piano, spiky drum clatter—demonstrating that you don’t have to overpower totransport—and richly melodic lines from Laurence
stretching beyond counterpoint into free agency. What itmeans is that no matter where the ear’s attention settles,
there is something of interest happening. But, however
far they stray from the themes, the intermittent references
show that they know exactly what they are doing. It is a
warm-hearted and generous set, which makes the loss of
two of the principals ever more poignant.
For more information, visit ogunrecording.co.uk

Introspection
Burak Bedikyan (SteepleChase)by Ken Dryden

A native of Turkey, Burak Bedikyan (who turns 44 thismonth) moved from Istanbul to New York in 2017. The
pianist built his reputation by playing gigs and teaching,absorbing the music of the jazz capital. The arrival of
COVID put a sudden damper on his life, causing
Bedikyan to isolate at home with his wife and young

daughter and sell off nearly everything he owned,
including all of his musical instruments. After nottouching a piano for nearly eight months, he was invited
to compose a short piece for a Turkish jazz festival.
Renting a digital piano, microphones and sound cards,
Bedikyan improvised a composition, then found theinspiration to ruminate at the keyboard over the next
few days, producing the music heard on this CD.
Many pianists who have preceded him (Keith
Jarrett, Chick Corea, Marian McPartland and Kenny
Werner, among others) have championed free
improvisation as a form of expression, but devoting
an entire release to it has been less common amongmusicians of Bedikyan’s generation. Clearly Bedikyan
has been inspired by others but has found his own
creative path rather than imitate them. There is no
indication as to the order in which these performanceswere recorded, but the resulting ebb and flow of the
final playlist is logical in its constant shift of moods.
His explorations don’t run overly long while
many of them sound like finished compositions rather
than on-the-spot creations; one doesn’t hear any filler
as the pianist is thinking ahead about the direction of
his improvisation. The opening track, “Warm At
Heart”, conjures images of a beautiful spring morning.
The lush ballad “Simply For You” stands out and it
would be a good candidate for an added lyric. The
dramatic “Seven Gates” rapidly transitions from one
motif to another, incorporating a vamp in spots tobuild tension. Due to the strength and variety of thesesongs, ones hopes Burak Bedikyan will undertake
similar sessions in the near future.
For more information, visit steeplechase.dk

Jobim Forever
Antonio Adolfo (AAM Music)
by Dan Bilawsky

F rom the moment that he first heard “A Felicidade”

on a car radio in 1959, Antonio Adolfo was hooked on
the music of Antônio Carlos Jobim. As one of bossa
nova’s chief architects, Jobim—and his music—would
serve as both a foundational and enduring influence
on Adolfo, who would develop into one of the mostsuccessful pianists and arrangers of his generation.
Now, more than six decades after that initial exposure,arriving at his 75th birthday as this issue goes to press,
this celebrated artist pays tribute to that lodestar with
Jobim Forever.
Essentially eschewing vocal performances in favorof expansive yet respectful instrumental treatments ofgems from the ‘60s—the heyday of bossa nova—Adolfo
paves his own path through one classic after another.
“The Girl from Ipanema”, Jobim’s greatest hit, whichcalls to the beach located a mere two blocks from where
Adolfo would eventually start a school (and thehonoree’s children and grandson Daniel studied), setsthings in motion with breezy beauty and a purity ofsound. “Wave”, offering smart and tasteful horn lines
and contrasting solos from guitarist Lula Galvão andtrombonist Rafael Rocha, follows and captivates with
its streamlined flow. “How Insensitive”, a light-touch
beauty with Jessé Sadoc’s flugelhorn and Marcelo
Martins’ flute adding warmth and paving the way for
Adolfo’s refined statement, plays against its name.
“Favela (O Morro Nao Tem Vez)”, given a bluesy
facelift and clearing space for Sadoc’s hot trumpet and
Danilo Sinna’s passionate alto saxophone, proves to be

one of the most clever arrangements in a set housing
plenty. And “Estrada do Sol”, operating with pureclass, waltzes the album to its conclusion.
Working with a sizeable cast—more than ten,
if guests are included in the tally—Adolfo is able topaint with vivid colors that speak both to his own
imagination and the possibilities inherent in Jobim’s
music. Whether departing from the album’s allinstrumental norm and adding the spellbinding vocalsof Zé Renato to lone ‘50s inclusion “A Felicidade”,
grafting a “Por Toda a Minha Vida” introduction ontoa guarania-based “Amparo”, adjusting the form of“Agua de Beber” to his liking or adopting apurposefully mellow mindset on “Inutil Paisagem”,
Antonio Adolfo always has a firm grasp on the finer
details and the bigger picture.
For more information, visit antonioadolfomusic.com

The Last Call
Larry Coryell & Philip Catherine (with Jazz at
Berlin Philharmonic XI) (ACT Music)
by Marco Cangiano

Larry Coryell and Philippe Catherine had a long andsimpatico association since the mid ‘70s. The guitarists
toured with Coryell’s Eleventh House and recorded asa duo, producing the highly praised 1976 album Twin
House followed two years later by Splendid, bothproduced by Siggi Loch for Elektra. In the context of
the Art of Duo event curated by Loch at the Philarmonie
Berlin, Coryell and Catherine shared the stage for whatturned out to be Coryell’s last recorded effort as hepassed away only a few weeks later five years ago thismonth. The Last Call has the four pieces Coryell andCatherine performed that evening, as well as duos
between Catherine and pianist Jan Lundgren andCoryell and bassist Lars Danielsson before everyone
joined together to round off the evening with theaddition of trumpeter Paolo Fresu.
The concert lacks a bit of the coherence of previous
encounters. The contrast between Coryell andCatherine’s approach is evident, with the latter, onelectric, having a more linear and introspective phrasing
grounded in a tradition still reminiscent of Django
Reinhardt whereas the former, on acoustic and lessexuberant than usual, displays an almost encyclopedic
approach, ranging from ragtime to bluegrass andpostbop. At the same time, the two blend very well inpieces such as Coryell’s bluesy “Jemin-Eye’n” andCatherine’s heartfelt yet complex “Homecomings”.
Their empathy also emerges in “Manha De Carnaval”
and the opener “Ms. Julie”, which was also featured in
the aforementioned Twin House.
All the guest players shine, with Danielsson’s
thick, round, old-school sound bringing out the very
best in Coryell on “Bags’ Groove”, in which the duo
seems to have quite a bit of fun in their dialogue,
quoting almost everybody, including Stravinsky.
Catherine and Lundgren’s delightful reading of“Embraceable You” is a pearl. Regrettably, the fullgroup with the addition of Fresu is heard only in thelast piece, an ingenious arrangement of “On Green
Dolphin Street”, which comes across as an
impromptu jam session coda. The rousing audiencedelivers a clear appreciation. An apt conclusion to
Coryell’s last performance.
For more information, visit and actmusic.com

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 29

Orbits
Harri Sjöström, Andrea Centazzo,
Sergio Armaroli, Giancarlo Schiaffini (Ictus)
Steps
Harri Sjöström/Andrea Centazzo/Sergio Armaroli(Ictus)by Steven Loewy

F or more than three decades, percussionist, producer

and organizer Andrea Centazzo has done a marvelous
job documenting his work with a plethora ofoutstanding international musicians exploring various
free improvisational strategies. His label Ictus Records
has studiously catalogued these recordings, which
form an impressive collection.
Steps is a trio of Centazzo with Finnish sopranosaxophonist Harri Sjöström (who turns 70 this month)and vibraphonist Sergio Armaroli, with Centazzo’s
longtime collaborator, trombonist Giancarlo Schiaffini,added on Orbits.
Orbits is a largely static, though powerful work.
According to Evan Parker ’s liner notes, one player
begins improvising on each track and the others join in“… one by one, until the cycle or ‘orbit’ is completed.”
The American-educated Sjöström has performed
extensively in Europe and is probably best known asa sideman with Cecil Taylor on live recordings withsmall groups and larger ensembles. While Sjöström’s
work with Taylor received mixed reviews, the pianist’s
embrace enhanced the saxophonist’s reputation andbrought him to the attention of a wider audience. The
participation of Schiaffini on Orbits is solid, thoughdisappointingly limited. On the opening “Orbits #1”,
loosely muted trombone joins gingerly, in an
atmospheric setting, in which vibraphone seems toreign supreme. This is followed by a feature forArmaroli, who sports impressive chops on “Orbits #2”.
Centazzo is a facilitator throughout, a role heplays well, and his mysterious bells on “Orbits #4” andelsewhere mesh well with the mesmerizing sounds ofthe soprano, with its slowly trilling lines and whooshesof air, while Schiaffini quietly and sporadicallypunches through with tastefully subdued runs.
Sjöström never really breaks out in any substantial
way, though he contributes substantially to thecollective sound. Overall, the atmospherics prevail andthere is a sense of wandering, gently but relentlessly.
On “Orbits #5”, the saxophonist opens at length with
spunk, later joined by vibraphone in counterpoint.
Schiaffini pleases on “Orbits #10” with his opening
muted blats, growls and splats, eventually joined by
the others in a somewhat more diverse offering, withimpressive pointillistic playing from trombone andsaxophone. The recording ends with “Orbits #11”,
which opens with a wonderfully engaging and fast
drum solo, later joined by muted trombone andsaxophone in a lovely closing.
Steps gives a bit more time to the trio. Sjöström
seems more emboldened and Armaroli revels in the
moment with beautiful lines and tone. Sometimes, as
on “Steps #2”, there are slower moments, but on “Steps#5”, for example, the tempo picks up and Sjöström ismore aggressive, sporting shimmering beauty. On“Steps #6”, He display some of his best work, his lines
snaking all over the horn. The tracks work best when
they are liveliest and when all members of the trio are
fully engaged, such as on “Steps #7”. Centazzo isalways solidly in support, pushing forward as an equal
member and driving force.
For more information, visit ictusrecords.com

30 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORDB OXED SE T

The Complete Live at The Lighthouse
Lee Morgan (Blue Note)by George Grella

In a 2021 packed with extraordinary and importantarchival jazz releases, this boxed set stands among
the very finest. This is trumpeter Lee Morgan’s
complete run with his quintet at The Lighthouse in
Hermosa Beach, California, seven-and-a-half hours(more than four hours never before released) across
12 sets and 3 nights in mid July 1970. This 8-CD or
12-LP package includes a booklet with photos ofMorgan—many of him at the beach in California—
and historical and analytical essays, responses on themusic from trumpeters like Nicholas Payton andCharles Tolliver and interviews with andremembrances of the musicians who were on The
Lighthouse bandstandThis is a working group, with Bennie Maupin(tenor saxophone, bass clarinet, flute), Harold
Mabern (piano), Jymie Merritt (bass) and Mickey
Roker (drums, with Jack DeJohnette sitting in for the
final tune of the last set on opening night). As such,

FEB 2

BLACK ART JAZZ COLLECTIVE
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TRIO 3 FINAL CONCERTS
FEB 7

FEB 21JUILLIARD JAZZ ENSEMBLESFEB 10–13

FEB 26–27

SAMARA JOY

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FEB 14polytonal harmonic ideas on the changes running
past him below. Morgan’s intent is fascinating but
not clear—is he stretching his harmonic palette,
responding to the moment, testing out something
new to see if it will work? The music and recording
are so vivid that one responds as if in the club:“What’s he doing? Did you hear that?”
The other ear-opening feature of this set is theprominence of Maupin. It has always been easy tohear him in bits and snatches as part of Bitches Brew
and a member of Herbie Hancock’s bands. He isa valuable sideman there, but a sideman, enhancing
the music with color, commentary and brief solostatements. At The Lighthouse, Morgan almost
always gives Maupin the first solo opportunity andregardless he gets the time and space to playwhatever he needs to play. And he is fantastic,
spinning out rich, exuberant, even brawny solos on
all three of his instruments. In duration alone, this isa massive update to his discography and his playing
shows that he is a musician of the highest order.
This is a massive amount of music without
a dull moment. It is astonishing how the producersof the original, partial release were able to decidethat four hours of this were not worth pressing. But
extended listening can be overwhelming—
the audience was just hearing one or two sets at
a time, after all, and for them, a 20-minute excursion
on “Neophilia” or “Absolutions” was the capstone ofan evening, not just a single track among a few dozenthat play for hours. But to be overwhelmed by hours
and hours of masterful, thrilling live jazz like this is
no criticism whatsoever.

FEB 17–20

JOHN BEASLEY CONDUCTS THE
MSM JAZZ ORCHESTRAKIM NALLEY

they play a concentrated core of material repeatedthroughout the sets—there are seven different
versions of “Speedball”, although that tune’s main
purpose is as a vamp as Morgan introduces the bandas they are about to take a break for “salt tablets andwine”—while mixing in a variety of other tunes, likethe atmospheric “Neophilia” and one performanceof “The Sidewinder” during the third set of opening
night. That single classic track from Morgan’s ‘60s
Blue Note period is a salient point from which tohear this tidal wave of music. It cooks as expected
and Roker ’s playing has some tasty rock ’n’ roll
updates on the original soul-jazz rhythms. It istremendous fun and the musicians sure have a blast,
but it also sounds like they are taking a break fromthe main proceedings.
The Lighthouse set is a panorama of the great
Morgan (who would be murdered onstage 50 years
ago this month). In July 1970, he was playing withthe same virtuosic thinking as always. A Morgan solofrom his teenage years up through this collection is amodel for how always to sound like you are playing
what you mean; not that there is a specific meaning
to each of his improvisations, but Morgan was always
incredibly coherent, with a purpose and point behind
every note. Never one to just smear or wail a line for
effect, even his trills are purposeful, coming as
moments of high drama in the middle ofa longer line. From set to set, Morgan is brilliant.
He is also modern, in his own way. The music is
post hardbop modern jazz, with more rock and more
modal playing. “Peyote” would fit onto any of his
studio Blue Note sides, but “Absolutions” is a newer
sound for Morgan. At times, though not predictably,
his playing takes him above the chords, stacking

Burak Bedikyan on SteepleChase

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

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 31

CALENDAR
Tuesday, February 1• Gabrielle Stravelli/Tim Armacost Quintet with Art Hirahara, Pat O’Leary, Eric Halvorson		54 Below 7 pm $30-65• John Pizzarelli Swing Seven
Birdland 7, 9:30 pm $40
êJohn Scofield’s Yankee Go Home with Jon Cowherd, Vicente Archer, Josh Dion
		Blue Note 8, 10:30 pm $45
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Peter Brainin and Talking Drum with Luis Perdomo, Boris Kozlov, Vince Cherico,
Robert Quintero; Los Hacheros The Django 7, 10 pmêChet Doxas/Micah Larum; Vinnie Sperrazza/Tim Berne		Downtown Music Gallery 6:30, 7:30 pmêJeremiah Cymerman, Charlie Looker, Mike Pride, Mariel Roberts
		Freddy’s Backroom 8:30 pm• Invocations: Fred Lonberg-Holm; Lucie Vítková; Lullady		
IRL 7 pm $15• Kevin Sun Quartet with Max Light, Walter Stinson, Matt Honor		
Lowlands 7:30, 9 pm $10• Taru Alexander
Smalls 7:30, 9 pm $20
êTyshawn Sorey, Joe Lovano, Bill Frisell		Village Vanguard 8, 10 pm $40

Wednesday, February 2• Ethan Silverman Quartet with Sullivan Fortner, Simon Willson, Joe Farnsworth		
Bar Bayeux 8, 9:30 pm• Gili Lope, Vinicius Gomes, Rogério Boccato
		Bar Lunàtico 9, 10:15 pm $10• John Pizzarelli Swing Seven
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night with Jimmy Bruno, Ken Smith, Harvie S, Vince Cherico
and guest Michael Zito
Birdland Theater 8:30 pm $30• John Scofield’s Yankee Go Home with Jon Cowherd, Vicente Archer, Josh Dion
		Blue Note 8, 10:30 pm $45
êJohnny O’Neal Trio
Cellar Dog 7 pm $10êChampian Fulton Trio with Hide Tanaka, Fukushi Tainaka; Johnny O’Neal Trio		The Django 7, 10 pm• William Fields, Wolff Parkinson White, Reid Anderson		
IRL 7 pm $15• Adam O’Farrill, Luke Marantz, Walter Stinson, Russell Holzman
		
Lowlands 8 pm $10• Nhlanhla Mahlangu Quartet
Minton’s 7, 9 pm $20• Miss Maybell/Charlie Judkins
Rockwood Music Hall Stage 3 9 pm $10• Harlem Jazz Session hosted by Peter Brainin		Room 623 at B2 Harlem 8 pm $15• Adam Larson
Smalls 7:30, 9 pm $20
êTyshawn Sorey, Joe Lovano, Bill Frisell		Village Vanguard 8, 10 pm $40• Wayne Tucker & The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8:30, 10:45 pm

Thursday, February 3êJohn Ellis and Double Wide

Bar Lunàtico 9, 10:15 pm $10• Evan Arntzen and Friends
Barbès 7 pm $20• John Pizzarelli Swing Seven
Birdland 7, 9:30 pm $40• Troy Roberts Quartet
Birdland Theater 8:30 pm $30• John Scofield’s Yankee Go Home with Jon Cowherd, Vicente Archer, Josh Dion

		Blue Note 8, 10:30 pm $45• Mike LeDonne Quartet
Cellar Dog 7 pm $10êBlack Art Jazz Collective: Wayne Escoffery, Jeremy Pelt, James Burton III, Victor Gould,
Rashaan Carter, Mark Whitfield, Jr. Dizzy’s Club 7:30, 9:30 pm $45• La Reserve 5th Anniversary Show: Alexander Claffy, Vanisha Gould, Martina DaSilva,
Bryan Carter, Benny Benack III, Charles Owens, Mike Bono, Steven Feifke,
Charles Goold
The Django 7 pm
• Pedrito Martinez
Drom 8 pm $25• Adventures in Duke, Monk, and Bird: MSM Jazz Orchestra		
Manhattan School of Music Neidorff-Karpati Hall 7:30 pm• Randy Ingram
Mezzrow 7:30, 9 pm $20• House of Jade Jam Session: Vuyo Sotashe, Jenn Jade, Benny Benack III, Irwin Hall,
Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20• Steve Kirby
Smalls 7:30, 9 pm $20
êRavi Coltrane Duos with James Carney and Allan Mednard
		Symphony Space Leonard Nimoy Thalia 7:30 pm $30
êTyshawn Sorey, Joe Lovano, Bill Frisell		Village Vanguard 8, 10 pm $40

Friday, February 4• Birdland Big Band
Birdland 5:30 pm $30• John Pizzarelli Swing Seven
Birdland 8:30, 10:30 pm $40• Troy Roberts Quartet
Birdland Theater 7, 9:45 pm $30• John Scofield’s Yankee Go Home with Jon Cowherd, Vicente Archer, Josh Dion

		Blue Note 8, 10:30 pm $45• Blood Brothers; Carol Morgan Quartet
		
Cellar Dog 7, 11:30 pm $10• Eva Cortés Quartet
Chelsea Table & Stage 7 pm $32• JC Maillard with Thierry Arpino, Lisa Fischer, Sofia Rei
		
Chelsea Table & Stage 9:30 pm $27êTrio 3 Final Concerts: Oliver Lake, Reggie Workman, Andrew Cyrille and guest
Bruce Williams
Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet; Dave Schumacher’s Cubeye with Jesus Anduz, Jose Davila,
John DiMartino, Apolo Ayala, Mauricio Herrera, Yusnier Sanchez
		
The Django 7, 10 pm• Get Happy—That Nelson Riddle Sound: The New York Pops with guests Tony DeSare,
Capathia Jenkins
Isaac Stern Auditorium at Carnegie Hall 8 pmêBorderlands Trio: Kris Davis, Stephan Crump, Eric McPherson
		
The Jazz Gallery 7:30, 9:30 pm $25-35
êJonny King
Mezzrow 7:30, 9 pm $20• Elégie
Minton’s 7, 9 pm $20• Ember Band: Caleb Wheeler Curtis, Orrin Evans, Noah Garabedian, Vinnie Sperrazza
		
Nublu 151 8 pm $20• In The Heat: Kenny Warren, Christopher Hoffman, Nathan Ellman-Bell;
Good Intentions: Sam Decker, Gregg Belisle-Chi, Luke Bergman, Dave Flaherty
		
The Owl Music Parlor 8 pm $10• Joe Pino; Ray Blue
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êSteve Slagle
Smalls 7:30, 9 pm $20
êRavi Coltrane’s Freedom Trio with Nick Jozwiak, Savannah Harris		Symphony Space Leonard Nimoy Thalia 7:30 pm $30• Duduka Da Fonseca Quarteto Universal with Helio Alves, Gili Lopes, Vinicius Gomes;
Gerardo Contino Los Habaneros NYC with Cesar Orozco, John Benítez, Yusnier Sánchez,
Carlos Maldonado
Terraza 7 8 pm $20
êTyshawn Sorey, Joe Lovano, Bill Frisell		Village Vanguard 8, 10 pm $40

Saturday, February 5• Misha Piatigorsky/Barbara Mendes 55Bar 9:30 pm• Helio Alves/Guilherme Monteiro Bar Lunàtico 9, 10:15 pm $10• Matt Darriau
Barbès 6 pm $20• John Pizzarelli Swing Seven
Birdland 8:30, 10:30 pm $40• Troy Roberts Quartet
Birdland Theater 7, 9:45 pm $30• John Scofield’s Yankee Go Home with Jon Cowherd, Vicente Archer, Josh Dion

		Blue Note 8, 10:30 pm $45• Wayne Tucker Quintet; Simona Premazzi Quartet
		
Cellar Dog 7, 11:30 pm $10êTrio 3 Final Concerts: Oliver Lake, Reggie Workman, Andrew Cyrille and guest
Bruce Williams
Dizzy’s Club 7:30, 9:30 pm $45• Nick Biello Quartet; Alphonso Horne and The Gotham Kings		
The Django 7, 10 pm
êT.S. MonkHarlem School of the Arts 4 pmêBorderlands Trio: Kris Davis, Stephan Crump, Eric McPherson
		
The Jazz Gallery 7:30, 9:30 pm $25-35
êMara Rosenbloom Quartet
Lang Hall, Hunter College 7:30 pm• Aaron Goldberg
Mezzrow 7:30, 9 pm $20• Charles Turner Quartet
Minton’s 7, 9 pm $20• Julius Rodriguez
Public Records 7 pm $20
êJoe Morris, Sam Newsome, Adam Lane, Michael Wimberly		
Scholes Street Studio 7:30 pmêAruán Ortiz/Don Byron Quartet
Sistas’ Place 9, 10:30 pm $20
êSteve Slagle
Smalls 7:30, 9 pm $20• Julian Shore Trio with Martin Nevin, Allan Mednard
		Soapbox Gallery 8 pm $25
êCosmic Music—A Contemporary Exploration into the Music of John and Alice Coltrane:
Ravi Coltrane
Symphony Space Leonard Nimoy Thalia 7:30 pm $30
êTyshawn Sorey, Joe Lovano, Bill Frisell		Village Vanguard 8, 10 pm $40
êRobert Dick/Dan Blake
Zürcher Gallery 8 pm $20

Sunday, February 6• Claire Dickson’s Starland with Grey McMurray, Lesley Mok

		
1 Rivington Street 4 pm $20• The Solomon Diaries: Sam Sadigursky/Nathan Koci		
Barbès 4 pm $15êStephane Wrembel
Barbès 8 pm $20• SUNY Purchase Latin Jazz Orchestra		
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• John Scofield’s Yankee Go Home with Jon Cowherd, Vicente Archer, Josh Dion
		Blue Note 8, 10:30 pm $45• Bruce Harris Trio
Cellar Dog 7 pm $10• Alphonso Horne and The Gotham Kings
		
Chelsea Table & Stage 2 pm $25
êTrio 3 Final Concerts: Oliver Lake, Reggie Workman, Andrew Cyrille and guest
Bruce Williams
Dizzy’s Club 7:30, 9:30 pm $35
êHilliard Greene solo
Five Myles Gallery 4 pmêPeter Evans Quartet
Lang Hall, Hunter College 7:30 pm• Ashley Pezzotti
Mezzrow 7:30, 9 pm $20• Willerm Delisfort Project
Minton’s 7, 9 pm $20• Daryl Sherman Trio with James Chrillo, Boots Maleson		North Square Lounge 12:30, 2 pm
• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êAngelica Sanchez Trio with Michael Formanek, Billy Hart		
Roulette 8 pm $25• Charles Owens
Smalls 7:30, 9 pm $20• Shai Maestro/Michael Mayo
Soapbox Gallery 8 pm $25
êJohn Zorn New Masada Quartet with Julian Lage, Jorge Roeder, Kenny Wollesen				
Village Vanguard 3 pm $40
êTyshawn Sorey, Joe Lovano, Bill Frisell		Village Vanguard 8, 10 pm $40

Monday, February 7êGreg Abate Quartet

Birdland 7 pm $30
Birdland Theater 8:30 pm $30
êChristian Sands
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Nick Saia, Nora Stanley, Sam Zagnit; Flin Van Hemmen, Jonathan Moritz, Sean Ali;
Stephen Gauci, Adam Lane, Colin Hinton; Yuko Togami, Ayumi Ishito, Mat Muntz,
Rema Hasumi, Sean Conly; TJ Borden, Nick Neuburg, Drew Wesely		Bushwick Public House 7 pm $15• Rico Jones, Dave Kikoski, Joe Martin, Eric Harland
		City Winery 6, 9 pm $45-60• Bird, Duke, Monk and Chick: John Beasley conducts the MSM Jazz Orchestra				
Dizzy’s Club 7:30, 9:30 pm $40
êMingus Big Band; The Django Jam with Alexander Claffy		
The Django 7:30, 9:30, 10:30 pm• Playfield: Aron Namenwirth, Luisa Muhr, Daniel Carter, Eric Plaks, Yutaka Takahashi,
Zack Swanson, Jon Panikkar; Astroturf Noise: Sana Nagano, Sam Day Harmet,
Zach Swanson
Pete’s Candy Store 9:30 pm• Ari Hoenig
Smalls 7:30, 9 pm $20
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Richard Cortez Quartet

Tuesday, February 8• Duduka Da Fonseca Quarteto Universal

		Bar Lunàtico 9, 10:15 pm $10êTribute to George Shearing: John Pizzarelli Trio		
Birdland 7, 9:30 pm $40
êChristian Sands
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25
êPete Malinverni’s On The Town with Ugonna Okegwo, Aaron Seeber; ELEW Trio with
Conrad Korsch, Allan Mednard The Django 7, 10 pm• Matt Mottel and Friends; Patrick Golden, Claire Daly, Aron Namenwirth		
Downtown Music Gallery 6:30, 7:30 pm• Kevin Sun Quartet with Dana Saul, Walter Stinson, Matt Honor		
Lowlands 7:30, 9 pm $10• Justin Robinson
Smalls 7:30, 9 pm $20• Paul Jost Quartet
Soapbox Gallery 8 pm $25• Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey				Village Vanguard 8, 10 pm $40

Wednesday, February 9êPatricia Brennan Quartet with Kim Cass, Mauricio Herrera		
Bar Bayeux 8, 9:30 pm• Kazemde George Quintet
Bar Lunàtico 9, 10:15 pm $10êTribute to George Shearing: John Pizzarelli Trio		
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30

32 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD• Sam Raderman

Birdland Theater 8:30 pm $30
Blue Note 8, 10:30 pm $35• Ehud Asherie Trio
Cellar Dog 7 pm $10• Tahira Clayton; Vanisha Gould The Django 7, 10 pm• Brandon ‘Buz’ Donald/Dierk Peters					
Lowlands 8 pm $10êLew Tabackin Trio with Yasushi Nakamura, Jason Tiemann		Michiko Studios 7 pm $20• LehCats
Minton’s 7, 9 pm $20• Lea Bertucci solo; Ben Vida solo Public Records 7:30 pm $30• Michael Sarian
Rockwood Music Hall Stage 3 9 pm $10• Harlem Jazz Session hosted by Peter Brainin		Room 623 at B2 Harlem 8 pm $15• Alex LoRe
Smalls 7:30, 9 pm $20• Misha Piatigorsky/Barbara Mendes
		
Soapbox Gallery 8 pm $25• Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey
		Village Vanguard 8, 10 pm $40• Wayne Tucker & The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8:30, 10:45 pm
êChristian Sands

Thursday, February 10• Itamar Borochov• Evan Arntzen and Friends

Bar Lunàtico 9, 10:15 pm $10
Barbès 7 pm $20
êTribute to George Shearing: John Pizzarelli Trio		
Birdland 7, 9:30 pm $40• Jade Synstelien Quartet
Cellar Dog 7 pm $10• Kim Nalley with Tammy Hall, Greg Skaff, Alvin Atkinson, Jr. and guest Houston Person
		Dizzy’s Club 7:30, 9:30 pm $45
êAdam Birnbaum Trio; Mark Whitfield Quartet
		
The Django 7, 10 pm• Pedrito Martinez
Drom 8 pm $25• Emma FrankJamaica Center for Arts and Learning 8 pm $10• Jeremy Dutton with Mike Moreno, Micah Thomas, Harish Raghavan
		
The Jazz Gallery 7:30, 9:30 pm $15-25• Bill O’Connell
Mezzrow 7:30, 9 pm $20• House of Jade Jam Session: Vuyo Sotashe, Jenn Jade, Benny Benack III, Irwin Hall,
Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20
êAlan Ferber
Smalls 7:30, 9 pm $20• Michael O’Brien
Soapbox Gallery 8 pm $25• Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey
		Village Vanguard 8, 10 pm $40

Friday, February 11êAaron Burnett and The Big Machine with Peter Evans, Carlos Homs, Nick Jozwiak,

Michael Ode

The Atlantic BKLN 9 pm $20
Barbès 8 pm $20
Birdland 5:30 pm $30
êTribute to George Shearing: John Pizzarelli Trio		
Birdland 8:30, 10:30 pm $40• Earl McIntyre and Tribute with Renee Manning, Jim Seeley, Alejandro Aviles,
Patience Higgins, Ron Jackson, Jerome Harris, Carlos Maldonado, Buddy Williams
		
Brooklyn Conservatory of Music 8 pm $15• Zaid Nasser Quartet; James Austin Quartet
		
Cellar Dog 7, 11:30 pm $10• Sweet Megg’s Sweet Love Songs Chelsea Table & Stage 7 pm $32
êGene Pritsker’s Sound Liberation with Franz Hackl, Paul Carlon, Jose Moura,
Damien Bassman
Chelsea Table & Stage 9:30 pm $27• Kim Nalley with Tammy Hall, Greg Skaff, Alvin Atkinson, Jr.
		
Dizzy’s Club 7:30, 9:30 pm $55• Ken Fowser Quintet; Barry Stephenson		The Django 7, 10 pm• Pedrito Martinez’ Rumba Con Fundamento		Harlem Stage Gatehouse 7:30 pm $25-35
êJosh Sinton solo; Sam Newsome solo; Josh Sinton/Sam Newsome
		Ibeam Brooklyn 8 pm $15êYoko Miwa Trio
Iridium 8 pm $27.50-35• Román Filiu with Gabriel Chakharji, Matt Brewer, Chris Hoffman
		
The Jazz Gallery 7:30, 9:30 pm $15-25• The Ever Fonky Lowdown: Juilliard Jazz Orchestra
		
Juilliard School Peter Jay Sharp Theater 7:30 pm $20
êMarquis Hill; Melanie Charles
Le Poisson Rouge 7:30 pm $25• David Berkman
Mezzrow 7:30, 9 pm $20• Jehbreal Jackson
Minton’s 7, 9 pm $20• Eliane Amherd; Todd Herbert
Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20
êDianne Reeves’ Let’s Fall In Love Rose Theater 8 pm $40-130êEthan Iverson Trio with Larry Grenadier, Nasheet Waits		
Roulette 8 pm $25• Robert Edwards
Smalls 7:30, 9 pm $20
êAri Hoenig/Dan Weiss
Soapbox Gallery 8 pm $25• Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey				Village Vanguard 8, 10 pm $40• Pedro Giraudo Tango Quartet• Birdland Big Band

Saturday, February 12• Clark Gayton and The Superslicks Bar Lunàtico 9, 10:15 pm $10• Matt Darriau
Barbès 6 pm $20
êTribute to George Shearing: John Pizzarelli Trio		
Birdland 8:30, 10:30 pm $40
êDarrell Green Trio Plus; Miki Yamanaka
		
Cellar Dog 7, 11:30 pm $10• Vladimir Cetkar Jazz Soul Funk Ensemble		Chelsea Table & Stage 9:30 pm $27• Kim Nalley with Tammy Hall, Greg Skaff, Alvin Atkinson, Jr.
		
Dizzy’s Club 7:30, 9:30 pm $55• Anthony Hervey Band with Isaiah J. Thompson, Philip Norris, Miguel Russell;
Freddy DeBoe BandThe Django 7, 10 pm• Pedrito Martinez’ Rumba Con Fundamento		Harlem Stage Gatehouse 7:30 pm $25-35• Afrofuturism: Flying Lotus
Isaac Stern Auditorium at Carnegie Hall 8 pm $12.50-55
êRalph Alessi Quartet with Angelica Sanchez, Chris Lightcap, Tom Rainey		
The Jazz Gallery 7:30, 9:30 pm $25-40• Gregory Porter; Kurt Elling’s Superblue with Charlie Hunter; Samara Joy		
		
Kings Theatre 8 pm $44-75
êMiguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole				
Miller Theatre 8 pm $20
êFreddie Hendrix Experience
Minton’s 7, 9 pm $20
êDianne Reeves’ Let’s Fall In Love Rose Theater 8 pm $40-130• Willie Jones III’s Our Man Higgins Sistas’ Place 9, 10:30 pm $20• Otis Brown
Smalls 7:30, 9 pm $20
êAri Hoenig/Dan Weiss
Soapbox Gallery 8 pm $25• Acute Inflections
Triad Theater 7 pm $20-25• Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey				Village Vanguard 8, 10 pm $40
êZoh Amba, Marc Edwards, Henry Fraser
		
Zürcher Gallery 8 pm $20

Sunday, February 13• Jason Lindner/Nate Wood

Bar Lunàtico 9, 10:15 pm $10êStephane Wrembel
Barbès 8 pm $20• Svetlana’s Big Band
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Mike Kanan Trio
Cellar Dog 7 pm $10• Kim Nalley with Tammy Hall, Greg Skaff, Alvin Atkinson, Jr. and guest Houston Person
		Dizzy’s Club 7:30, 9:30 pm $45• Roz Corral Trio with Bruce Barth, Paul Gill		
Mezzrow 7:30, 9 pm $20• Willerm Delisfort Project
Minton’s 7, 9 pm $20• Deanna Kirk Trio with Yaniv Taubenhouse, Tim Givens
		North Square Lounge 12:30, 2 pm
• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êClifford Barbaro
Smalls 7:30, 9 pm $20• Mark Guiliana Quartet with Jason Rigby, Shai Maestro, Chris Morrissey				Village Vanguard 8, 10 pm $40

Monday, February 14• Dana Lyn, Charlie Burnham, Marika Hughes		Barbès 7 pm $15êCatherine Russell’s Valentine’s Day for Lovers with Matt Munisteri, Mark Shane,
Tal Ronen, Mark Mclean, Jon-Erik Kellso, John Allred, Evan Arntzen
		
Birdland 7, 9:30 pm $40• Ashley Pezzotti Trio
Birdland Theater 8:30 pm $30
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Rotem Eylam, Mark Abramovski, Michael Larocca; Hans Tammen/Shoko Nagai;
Stephen Gauci, Adam Lane, Kevin Shea; Santiago Leibson, Lim Yang, Billy Mintz;
Kirk Anderson, Sebastian Alexander Johnson, Sean Lawson, James Worsey,
Jasper Mahncke
Bushwick Public House 7 pm $15êSamara Joy
Dizzy’s Club 7:30, 9:30 pm $55• Martina DaSilva and Tony Glausi’s Songs About Love; Lauren Henderson
		
The Django 7, 10 pmêMending Wall: PRISM Quartet: Matthew Levy, Timothy McAllister, Zachary Shemon,
Taimur Sullivan and guests Tony Arnold, Arturo O’Farrill		
Roulette 8 pm $25• Dave Kikoski
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, February 15• Arthur Kell Quartet with Brad Shepik, Nate Radley, Allan Mednard

		Bar Lunàtico 9, 10:15 pm $10êMax Johnson/Sam Newsome
Barbès 7 pm $15êCatherine Russell’s Fat Tuesday Mardis Gras Party with Matt Munisteri, Mark Shane,
Tal Ronen, Mark Mclean, Jon-Erik Kellso, John Allred, Evan Arntzen
		
Birdland 7, 9:30 pm $40• Terrace Martin and Friends
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Anwar Marshall; Mark Kelley
The Django 7, 10 pmêJoe McPhee, Henry Fraser, Raf Vertessen		
Downtown Music Gallery 6:30 pm• Happy Trio XIX: Kevin Sun, Matt Brewer, David Frazier, Jr.
		
Lowlands 7:30, 9 pm $10• Abba Kolichina
Mezzrow 7:30, 9 pm $20• Treesearch: Keir GoGwilt/Kyle Motl; Brandon Lopez solo
		
Scholes Street Studio 7:30 pm• Abraham Burton
Smalls 7:30, 9 pm $20

Wednesday, February 16• Adam Kolker Quartet with Bruce Barth, Ugonna Okegwo, Billy Hart		Bar Bayeux 8, 9:30 pm• Arthur Kell Quartet with Brad Shepik, Nate Radley, Allan Mednard
		Bar Lunàtico 9, 10:15 pm $10êCatherine Russell’s The Danettes Valentine’s with Carolyn Leonhart, LaTanya Hall,
Matt Munisteri, Mark Shane, Tal Ronen, Mark Mclean
		
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night with Jimmy Bruno, Ken Smith, Harvie S, Vince Cherico andguest Denis Pol
Birdland Theater 8:30 pm $30• Terrace Martin and Friends
Blue Note 8, 10:30 pm $35
êChampian Fulton Trio
Cellar Dog 7 pm $10• Lucy Yeghiazaryan Group with Grant Stewart; Sachal Vasandani with Victor Gould,
Alex Claffy, Domo Branch
The Django 7, 10 pmêJazzmobile: Lezlie Harrison
The Interchurch Center 7 pm
• Noah Rott, Alfredo Colon, Kobi Abcede, Mathias Jensen		
Lowlands 8 pm $10êOran Etkin
Minton’s 7, 9 pm $20• Harlem Jazz Session hosted by Peter Brainin		Room 623 at B2 Harlem 8 pm $15• Noam Weisman
Smalls 7:30, 9 pm $20• Wayne Tucker & The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8:30, 10:45 pm

Thursday, February 17• Sami Stevens and Kazemde George with Nich Mueller, Sam Weber, Jay Sawyer

		
The Atlantic BKLN 9 pm $10• Or Bareket Quartet with Savannah Harris, Jeremy Corren, Godwin Louis		Bar Lunàtico 9, 10:15 pm $10• Evan Arntzen and Friends
Barbès 7 pm $20
êCatherine Russell’s An Intimate Valentine’s with Matt Munisteri, Mark Shane, Tal Ronen,
Mark Mclean
Birdland 7, 9:30 pm $40• Sasha Dobson Band
Birdland Theater 8:30 pm $30• Terrace Martin and Friends
Blue Note 8, 10:30 pm $35• Philip Harper Quartet
Cellar Dog 7 pm $10• Ann Hampton Callaway with Ted Rosenthal, Martin Wind, Tim Horner				Dizzy’s Club 7:30, 9:30 pm $40• Calvin Johnson’s Notes of a Native Son with Andrew McGowan, Nori Naraoka,
Darrian Douglas; Jeffery Miller Quintet
		
The Django 7, 10 pm• Pedrito Martinez
Drom 8 pm $25• Phil Young Experience
Hansborough Recreation Center 5:30 pm• Alex Brown Quintet with Alex Wintz, Edward Perez, Eric Doob, Samuel Torres
		
The Jazz Gallery 7:30, 9:30 pm $15-25• House of Jade Jam Session: Vuyo Sotashe, Jenn Jade, Benny Benack III, Irwin Hall,
Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20• Magos Herrera’s Remanso with Vinicius Gomes, Sam Minaie, Alex Kautz				
National Sawdust 7:30 pm $42êAstroturf Noise: Sana Nagano, Sam Day Harmet, Zach Swanson;
Open Question: Daniel Carter, Ayumi Ishito, Eric Plaks, Zach Swanson, Jon Panikkar
		Nublu 151 7 pmêElliott Sharp 3 with David Hofstra, Don McKenzie		Rockwood Music Hall Stage 3 9 pm $20
êSarah Hanahan
Smalls 7:30, 9 pm $20• Andrew Boudreau’s Neon with Neta Raanan, Simón Willson, Eviatar Slivnik				Soapbox Gallery 8 pm $25
êAfrofuturism: Sun Ra Arkestra with guests Kelsey Lu, Moor Mother		
Zankel Hall 9 pm $55-65

Friday, February 18• Nick Biello Five For One Quintet The Atlantic BKLN 10 pm $10• Miss Maybell and The Jazz Age Artistes with Charlie Judkins, Brian Nalepka				Barbès 8 pm $20• Birdland Big Band
Birdland 5:30 pm $30
êCatherine Russell’s Send For Me with Matt Munisteri, Mark Shane, Tal Ronen,
Mark Mclean, Jon-Erik Kellso, John Allred, Evan Arntzen
		
Birdland 8:30, 10:30 pm $40• Sasha Dobson Band
Birdland Theater 7, 9:30 pm $30• Terrace Martin and Friends
Blue Note 8, 10:30 pm $35• Itai Kriss and La Guarancharanga; Davis Whitfield Quartet
		
Cellar Dog 7, 11:30 pm $10• Ann Hampton Callaway with Ted Rosenthal, Martin Wind, Tim Horner				Dizzy’s Club 7:30, 9:30 pm $45• Ken Fowser Quintet; Hudson Horns
		
The Django 7, 10 pm• Chris Morrissey Quartet with Charlotte Greve, Marco Bolfelli, Bill Campbell
		
The Jazz Gallery 7:30, 9:30 pm $25-35
êMehmet Ali Sanlıkol’s An Elegant Ritual		Joe’s Pub 9:30 pm $20• Elio Villafranca
Minton’s 7, 9 pm $20• Vadim Neselovskyi
Rockwood Music Hall Stage 3 7 pm $20• Lucas Kadish Trio; Tyler Mitchell Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• Jimmy Macbride
Smalls 7:30, 9 pm $20• Hayes Greenfield/Dean Johnson Soapbox Gallery 8 pm $25

Saturday, February 19• Matt Darriau

Barbès 6 pm $20

êCatherine Russell’s Send For Me with Matt Munisteri, Mark Shane, Tal Ronen,

Mark Mclean, Jon-Erik Kellso, John Allred, Evan Arntzen
		
Birdland 8:30, 10:30 pm $40• Sasha Dobson Band
Birdland Theater 7, 9:30 pm $30• Terrace Martin and Friends
Blue Note 8, 10:30 pm $35• Richard Clements Quartet; Avi Rothbard Quartet
		
Cellar Dog 7, 11:30 pm $10• Charu Suri
The Cutting Room 7 pm $20-25• Ann Hampton Callaway with Ted Rosenthal, Martin Wind, Tim Horner				Dizzy’s Club 7:30, 9:30 pm $45
êMingus Dynasty; Jason Clotter with Luther Allison, Hank Allen-Barfield		
The Django 7, 10 pm• Bass-ics: Kaoru Watanabe, Dave Taylor, Troy Rinker, Jr.
		Greenwich House Music School 7 pmêOrpheus Chamber Orchestra with guest Arturo Sandoval				
Isaac Stern Auditorium at Carnegie Hall 7 pm $15-125• Sharp Radway solo
Jackie Robinson Recreation Center 2 pmêMiki Yamanaka
Minton’s 7, 9 pm $20
êStephen Gauci, Michael Bisio, Whit Dickey		
Scholes Street Studio 8, 9:30 pm $15• Lesidi Ntsane Band
Sistas’ Place 9, 10:30 pm $20
êEd Cherry
Smalls 7:30, 9 pm $20• Jon Batiste’s Social Music
Zankel Hall 9 pm

Sunday, February 20• David Berkman Trio with Tony Scherr, Adam Cruz		
Bar Lunàtico 9, 10:15 pm $10êStephane Wrembel
Barbès 8 pm $20
êRyan Keberle’s All Ears Orchestra Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Miss Maybell and The Jazz Age Artistes with Charlie Judkins, Brian Nalepka				Birdland Theater 7 pm $30
êAlyssa Allgood Quartet
Birdland Theater 9:30 pm $30• Terrace Martin and Friends
Blue Note 8, 10:30 pm $35• Saul Rubin Trio
Cellar Dog 7 pm $10• Ann Hampton Callaway with Ted Rosenthal, Martin Wind, Tim Horner				Dizzy’s Club 7:30, 9:30 pm $30
êMingus Big BandThe Django 7:30, 9:30 pm• Hilary Gardner
Mezzrow 7:30, 9 pm $20• Willerm Delisfort Project
Minton’s 7, 9 pm $20• Roz Corral Trio with Jim Ridl, John Menegon		North Square Lounge 12:30, 2 pmêAdam O’Farrill Quartet
Rizzoli Bookstore 5 pm $20• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êJay Clayton’s 80th Birthday Celebration with Gary Versace, Ed Neumeister,
Jay Anderson, Billy Drummond Roulette 8 pm $25
êRas Moshe Music Now!
Scholes Street Studio 7:30 pm• Chris Byars
Smalls 7:30, 9 pm $20

Monday, February 21êPeter Bernstein/Steve Cardenas Quartet		Bar Lunàtico 9, 10:15 pm $10• David Finck Quintet
Birdland Theater 8:30 pm $30• Gretchen Parlato
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• James Paul Nadien, Brendan Rey, Cosmo Gallaro; Nick Fraser, Michaël Attias,
Darren Johnston, Michael Bates; Stephen Gauci, Adam Lane, Colin Hinton;
Colin Hinton, Todd Neufeld, Christopher Hoffman, Chris Tordini; Asher Herzog,
Kevin Eichenberger, Nick Saia
Bushwick Public House 7 pm $15• Popular Songs: Blues, Ballad, Dances, and Novelty: Juilliard Jazz Ensembles				
Dizzy’s Club 7:30, 9:30 pm $35
êLuke Stewart
Roulette 8 pm $25
êJoe Farnsworth
Smalls 7:30, 9 pm $20• Misha Piatigorsky
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 33

100 MILES OUT

CONNECTICUT
2/8 (7 pm) Brandon Terzakis Trio | 2/22 (7 pm) Wayne Escoffery Quartet
Café Nine New Haven, CT www.cafenine.com
2/6 (3 pm) Emery Austin Smith Trio | 2/13 (3 pm) Trevor Davis’ Jazz Affair
2/20 (3 pm) Colin Walters Quartet | 2/27 (3 pm) Mary DiPaola Trio
Hartford Public Library Hartford, CT hartfordjazzsociety.com
2/2 (7 pm) Camacho-Safy Allstars | 2/16 (7 pm) Arthur Lipner Trio
2/17 (7 pm) Pete Levin, Mike Jackson, Jeff “Siege” Siegal
2/24 (7 pm) Nelson Riveros Quartet
La Zingara Bethel, CT www.lazingara.com
2/10 (5:30 pm) Matt Dwonszyk Duo
New Britain Museum of American Art New Britain, CT nbmaa.org
2/4 (7/9 pm) Yoko Miwa Trio | 2/25 (7/9 pm) Chris Coogan Quintet
Palace Theater Poli Club Waterbury, CT www.palacetheaterct.org
2/27 (2:30 pm) Tyshawn Sorey, Stephen Haynes, Patricia Brennan, Joe Morris
Real Art Ways Hartford, CT www.realartways.org
2/4 (8:30 pm) Jeremy Pelt Quintet with Chien Chien Lu, Victor Gould,
Vicente Archer, Allan Mednard
Side Door Old Lyme, CT oldlymeinn.com/TheSideDoorJazzClub.html
2/12 (7:30 pm) Sarah Hanahan Quartet
St. John’s Episcopal Church West Hartford, CT www.reddoormusic.org
NEW JERSEY
2/5 (6 pm) Stefon Harris
Bethany Baptist Church Newark, NJ www.njpac.org
2/5 (3:30 pm) James Stewart | 2/12 (3:30 pm) Todd Bashore
Candlelight Lounge Trenton, NJ www.jazztrenton.com
2/3 (7:30 pm) Micah Graves and Danielle Dougherty
Collingswood Community Center Collingswood, NJ www.jazzbridge.org
2/13 (2 pm) Al Harrison’s Dixieland Band
Haddonfield United Methodist Church Haddonfield, NJ www.tristatejazz.org
2/4 (7 pm) Ty Stephens & (The) Soul Jazz
2/9 (7 pm) Trilateral Project: Tomoko Ohno, Samuel Martinelli, Marcus McLaurine
2/12 (7 pm) Champian Fulton Trio with Fukushi Tainaka, Hide Tanaka
2/17 (7 pm) Oran Etkin
Shanghai Jazz Madison, NJ www.shanghaijazz.com
2/20 (4 pm) Jazzmeia Horn
Shea Center for the Performing Arts @William Paterson University
Wayne, NJ www.wpunj.edu/wppresents/jazz-room-series/
2/6 (7 pm) Mark Gross Quartet
South Orange PAC South Orange, NJ www.sopacnow.org
2/1 (7/8:45 pm) Matt Renzo Quartet | 2/3 (7/8:45 pm) Stephen Fuller Trio
2/8 (7/8:45 pm) John Pachnos Quartet | 2/10 (7/8:45 pm) Kate Curran Quartet
2/15 (7/8:45 pm) Solomon Alber Quartet | 2/17 (7/8:45 pm) Rob Fulton Quartet
2/22 (7/8:45 pm) Jackson Grundt Quartet | 2/24 (7/8:45 pm) Carrie Jackson Quartet
Tavern on George New Brunswick, NJ www.tavernongeorge.com
NEW YORK
2/5, 2/12, 2/19, 2/26 (7:30 pm) Leslie Pintchik Trio
Alvin & Friends New Rochelle, NY www.alvinandfriendsrestaurant.com
2/3, 2/10, 2/17 (7 pm) Paul Connors Organ Groove featuring Chris Vitarello
2/19 (7:30 pm) Bob Meyer & The New Adirondack Jazz Quartet
Elk’s Lodge Ossining, NY www.jazzatthelodge.com/shows
2/11 (7 pm) Hudson Jazz Festival: The Baylor Project
2/12 (7 pm) Hudson Jazz Festival: Alexis Morrast
2/18 (7 pm) Hudson Jazz Festival: Warren Wolf
2/19 (7 pm) Hudson Jazz Festival: Jazzmeia Horn
2/20 (3 pm) Hudson Jazz Festival: Jimmy Greene Quartet
Hudson Hall Hudson, NY www.hudsonhall.org
2/4, 2/5 (7/9:30 pm) Renee Rosnes Quartet | 2/6 (4/6 pm) Greg Abate Quartet
2/11, 2/12 (7/9:30 pm) Eliane Elias | 2/14 (7 pm) Libby York
2/18, 2/19 (7/9:30 pm) Ken Peplowski Quartet
2/20 (4/6 pm) Fabiana Masili, Itaiguara Brandao, Roni Ben-Hur, Vanderlei Pereira
2/25, 2/26 (7/9:30 pm) Tim Armacost, Gary Smulyan, Michael Rodriguez,
John Patitucci, Al Foster
2/27 (4/6 pm) Mark Morganelli & Jazz Forum All-Stars
Jazz Forum Arts Tarrytown, NY www.jazzforumarts.org
2/4 (8 pm) Kate Baker Quartet | 2/5 (8 pm) Zach Adleman and The Juilliard Trio
2/11 (8 pm) Nyack Community Standards featuring Steven Bernstein
2/14 (8 pm) Tanya Garzia | 2/18 (8 pm) Ray Levier Quintet
2/25 (8 pm) Freddie Jacobs | 2/26 (8 pm) Martin Pizzarelli/Larry Fuller Trio
Maureen’s Jazz Cellar Nyack, NY www.maureensjazzcellar.com
2/26 (3 pm) Javon Jackson Quartet with Nikki Giovanni
Old Dutch Church Kingston, NY www.olddutchchurch.org
2/7 (8:30 pm) Tim Berne, David Torn, Dean Sharp
2/14 (8:30 pm) Valentine’s Day with Gabriele and Joe Vincent Tranchina
2/21 (8:30 pm) Duoscope: Eric Person and Bob Meyer
2/28 (8:30 pm) Joe McPhee/Steve Swell/Chris Corsano
Quinn’s Beacon, NY www.facebook.com/QuinnsBeacon
2/5, 2/12, 2/19, 2/26 (3-4:30 pm) Hal Galper Trio with Tony Marino, Billy Mintz
Rafter’s Tavern Callicoon, NY www.rafterstavern.com
2/6 (1 pm) Teri Roiger Trio with John Menegon, Matt Garrity
2/13 (1 pm) Joe Vincent Trachino Trio with Lew Scott, Peter O’Brian
The Cove Castle Greenwood, NY www.covecastleny.com
2/19 (7 pm) Jim Campilongo 4-Tet | Don Byron Quartet
2/24 (7 pm) Latin Jazz Express with Conrad Herwig | 2/26 (7 pm) Ed Palermo
The Falcon Marlboro, NY www.liveatthefalcon.com
2/2 (7 pm) Tom Manuel and Young at Heart Trio | 2/11 (7 pm) Arta Jekabsone
2/12 (7 pm) Jazz Loft All Stars | 2/25 (7 pm) Viva Bossa Nova
2/26 (7 pm) Allison Rowe/Taylor Ackley feat. Tom Manuel, Steve Salerno
The Jazz Loft Stony Brook, NY www.thejazzloft.org
2/12 (6 pm) Ray Blue | 2/19 (6 pm) Nelson Riveros | 2/26 (6 pm) Gerry Malkin
Bean Runner Café Peekskill, NY www.beanrunnercafe.com
PENNSYLVANIA
2/1 (8/9:30 pm) Brian Morris Quartet | 2/2 (8/9:30 pm) Liam Sutcliffe Quartet
2/3 (8/9:30 pm) Peter Frank Orchestra | 2/4 (8/10 pm) Dave Brodie Quartet
2/5 (8/10 pm) Chris’ Allstar Sextet with Steve Davis, Larry McKenna, Joe Block,Alex Claffy, John Swana
2/9 (8/9:30 pm) John Colianni Big Band | 2/10 (8/9:30 pm) Dave Wilson Quartet
2/11 (8/10 pm) Denise King | 2/12 (8/10 pm) Anaïs Reno
2/14 (6/8/10 pm) Joanna Pascale | 2/17 2/18 (8/10 pm) Captain Black Big Band
2/25, 2/26 (8/10 pm) Jane Bunnett & Maqueque
Chris’ Jazz Café Philadephia, PA www.chrisjazzcafe.com
2/19 (7:30 pm) Ruth Naomi Floyd
Clef Club Philadephia, PA www.clefclubofjazz.org
2/12 (8 pm) Devin Hoff, River Full of Fruit
Fire Museum Philadelphia, PA www.firemuseumpresents.com
2/6 (6:30/8:30 pm) Olivia Hughart | 2/11 2/12 (7/9:30 pm) Emily Braden
2/17, 2/18 (7/9 pm) Jackiem Joyner | 2/24 2/25 (7/9 pm) Althea Rene
South Jazz Club Philadelphia, PA www.southjazzkitchen.com(8 pm) Marquis Hill with Melanie Charles, (9 pm) Jazz Jam with Omar’s Hat
World Café Philadelphia, PA www.worldcafelive.com

Tuesday, February 22• Q Morrow with Evan Francis, Rick Rosato, Rodrigo Recabarren		Bar Lunàtico 9, 10:15 pm $10êMichaël Attias Lumisong Quartet with Santiago Leibson, Matt Pavolka, Mark Ferber		Barbès 7 pm $20
êDonald Harrison Quintet
Birdland 7, 9:30 pm $40• Gretchen Parlato
Blue Note 8, 10:30 pm $35
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Nick Fraser, Mat Maneri, Brandon Lopez
		
Downtown Music Gallery 6:30 pm• Monastic: Kevin Sun, Dierk Peters, Noah Garabedian, Allen Mednard				
Lowlands 7:30, 9 pm $10êDayna Stephens Quartet with Aaron Parks, Ben Street, Greg Hutchinson				
Village Vanguard 8, 10 pm $40

Wednesday, February 23êJeremy Pelt Quartet wit Anthony Wonsey, Clovis Nicolas, Willie Jones III

		Bar Bayeux 8, 9:30 pmêDonald Harrison Quintet
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night with Jimmy Bruno, Jack Wilkins
		
Birdland Theater 8:30 pm $30• Gretchen Parlato
Blue Note 8, 10:30 pm $35• Ehud Asherie Trio
Cellar Dog 7 pm $10• Benny Benack III; Emily Braden The Django 7, 10 pm• Loston Harris Trio
Iridium 8 pm $30• Juilliard Orchestra and Juilliard Jazz Orchestra Conducted by David Robertson		Isaac Stern Auditorium at Carnegie Hall 8 pm $30• Kendall Thomas’ A Queer Jazz Songbook
		Joe’s Pub 7 pm $25• Manuel Schmiedel, Rick Rosato, Adam Arruda
		
Lowlands 8 pm $10• Jazz Student Composers’ Big Band		Manhattan School of Music Neidorff-Karpati Hall 7:30 pm• Tal Ronen/Rossano Sportiello Mezzrow 7:30, 9 pm $20• Kali Rodriguez Peña Quartet
Minton’s 7, 9 pm $20• Harlem Jazz Session hosted by Peter Brainin		Room 623 at B2 Harlem 8 pm $15• Marta Sánchez Quintet with Alex LoRe, Roman Filiu, Rashaan Carter, Allan Mednard		Roulette 8 pm $25
êJames Brandon Lewis
Scholes Street Studio 7:30 pmêJed Levy
Smalls 7:30, 9 pm $20• Zach Brock
Soapbox Gallery 8 pm $25• Sara Serpa Quartet with Caroline Davis, Chris Tordini
		The Stone at The New School 8:30 pm $20
êDayna Stephens Quartet with Aaron Parks, Ben Street, Greg Hutchinson				
Village Vanguard 8, 10 pm $40• Wayne Tucker & The Bad Mothas Wild Birds 9 pm
• Terry Waldo’s Gotham City Band Zinc Bar 8:30, 10:45 pm

Thursday, February 24• Evan Arntzen and Friends

Barbès 7 pm $20
Birdland 7, 9:30 pm $40
êDena DeRose Trio with Martin Wind, Matt Wilson
		Birdland Theater 8:30 pm $30• Butcher Brown: Tennishu, Morgan Burrs, Corey Fonville, Andrew Randazzo,
DJ Harrison
Blue Note 8, 10:30 pm $25• Danton Boller Quartet
Cellar Dog 7 pm $10êJosh Evans
Dizzy’s Club 7:30, 9:30 pm $40• Sam Dillon Quartet; Ian Hendrickson-Smith		The Django 7, 10 pm• Pedrito Martinez
Drom 8 pm $25• Birsa Chatterjee
The Jazz Gallery 7:30, 9:30 pm $15-25• Tyler Blanton
Mezzrow 7:30, 9 pm $20• House of Jade Jam Session: Vuyo Sotashe, Jenn Jade, Benny Benack III, Irwin Hall,
Mathis Picard, Russell Hall, Bryan Carter		
Minton’s 8 pm $20
êSimple Trio: Anna Webber, John Hollenbeck, Matt Mitchell		
The Owl Music Parlor 7:30 pm $10• Troy Roberts
Smalls 7:30, 9 pm $20• Aimée Allen
Soapbox Gallery 8 pm $25• Sara Serpa, André Matos, Dov Manski, Joe Martin, Kendrick Scott		The Stone at The New School 8:30 pm $20
êMeshell Ndegeocello’s We Insist, Max Roach’s Freedom Now Suite		Symphony Space Leonard Nimoy Thalia 7:30 pm $30
êDayna Stephens Quartet with Aaron Parks, Ben Street, Greg Hutchinson				
Village Vanguard 8, 10 pm $40
êAfrofuturism: Nicole Mitchell Black Earth Ensemble;
Autophysiopsychic Millennium: Angel Bat Dawid, LuFuki, Dr. Adam Zanolini				
Zankel Hall 7:30 pm $30-45êDonald Harrison Quintet

Friday, February 25• Birdland Big Band

Birdland 5:30 pm $30
Birdland 8:30, 10:30 pm $40
êDena DeRose Trio with Martin Wind, Matt Wilson and guest Virginia Mayhew				
Birdland Theater 7, 9:30 pm $30• Butcher Brown: Tennishu, Morgan Burrs, Corey Fonville, Andrew Randazzo,
DJ Harrison
Blue Note 8, 10:30 pm $25• Will Terrill Quintet; Ai Murakami Quartet
		
Cellar Dog 7, 11:30 pm $10• Dayramir Gonzalez’ Havana Today - Afro-Cuban Grooves
		Chelsea Table & Stage 7 pm $32
êJosh Evans
Dizzy’s Club 7:30, 9:30 pm $40• Ken Fowser Quintet; Ron Jackson’s Standards and My Songs with Lucia Jackson,
Clark Gayton, Brian Ho, Ben Wolfe, Willie Jones III
		The Django 7, 10 pm• Simon Shaheen Qantara World Jazz and Near Eastern Music Ensemble				
Merkin Concert Hall 8 pm $30-45êDonald Harrison Quintet

34 FEBRUARY 2022 | THE NEW YORK CITY JAZZ RECORD• Griffin Fink Quartet
Minton’s 7, 9 pm $20• Aaron Burnett Trio with Simon Wilson, Nic Cacioppo

		
Red Room at KGB Bar 10 pm $10• John Koozin 4tet; Simona Premazzi		Room 623 at B2 Harlem 7, 8:30, 10 pm $15-20• John Eckert
Smalls 7:30, 9 pm $20• James Carney
Soapbox Gallery 8 pm $25• Sara Serpa, Ingrid Laubrock, Angelica Sanchez, Erik Friedlander
		The Stone at The New School 8:30 pm $20• The HawtPlates: Justin, Jade and Kenita Miller-Hicks
		
Symphony Space Leonard Nimoy Thalia 7:30 pm $30
êDayna Stephens Quartet with Aaron Parks, Ben Street, Greg Hutchinson				
Village Vanguard 8, 10 pm $40

Saturday, February 26• Matt Darriau

Barbès 6 pm $20
Birdland 8:30, 10:30 pm $40
êDena DeRose Trio with Martin Wind, Matt Wilson and guest Jim Rotondi				
Birdland Theater 7, 9:30 pm $30• Butcher Brown: Tennishu, Morgan Burrs, Corey Fonville, Andrew Randazzo,
DJ Harrison
Blue Note 8, 10:30 pm $25• Joe Magnarelli Quartet; Jon Davis Trio		
Cellar Dog 7, 11:30 pm $10• Anaïs Reno
Chelsea Table & Stage 7 pm $27êGeorge Coleman Quartet with Keith Brown, Dezron Douglas, Joe Farnsworth				Dizzy’s Club 7:30, 9:30 pm $45• Spike Wilner Trio; Nick Hempton Band with Ed Cherry, Kyle Koehler, Fukushi Tainaka		The Django 7, 10 pm• Kevin Hays solo
Hudson View Gardens Lounge 7:30 pm $15êNick Fraser, Anna Webber, Darren Johnston, Michael Bates
		
Ibeam Brooklyn 8 pm $15êKate Gentile with Jeremy Viner, Matt Mitchell, Kim Cass		The Jazz Gallery 7:30, 9:30 pm $25-35• Brandon Goldberg
Mezzrow 7:30, 9 pm $20
êAaron Goldberg
Minton’s 7, 9 pm $20• Peter Brainin’s Creative Jazz Workshop
		Room 623 at B2 Harlem 7 pm $22• Jason Marshall
Smalls 7:30, 9 pm $20
êMeshell Ndegeocello’s No More Water/The Fire Next Time		
Symphony Space Leonard Nimoy Thalia 7:30 pm $30
êDayna Stephens Quartet with Aaron Parks, Ben Street, Greg Hutchinson				
Village Vanguard 8, 10 pm $40
êDonald Harrison Quintet

Sunday, February 27• Danny Fox Trio

Bar Lunàtico 9, 10:15 pm $10
Barbès 8 pm $20• Emilio Solla Tango Jazz Orchestra Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Russ Kassoff Trio
Birdland Theater 9:30 pm $30• Butcher Brown: Tennishu, Morgan Burrs, Corey Fonville, Andrew Randazzo,
DJ Harrison
Blue Note 8, 10:30 pm $25• Greg Glassman Trio
Cellar Dog 7 pm $10• Gene + The Brass: Wayne du Maine, Dennis Hernandez, Valery Ponomarev,
Franz Hackl, John Clark, Jonathan Greenberg, Gene Pritsker
		Chelsea Table & Stage 7 pm $27• Elijah Jamal Balbed
Chelsea Table & Stage 9:30 pm $22êGeorge Coleman Quartet with Keith Brown, Dezron Douglas, Joe Farnsworth				Dizzy’s Club 7:30, 9:30 pm $30• Sachal Vasandani
Mezzrow 7:30, 9 pm $20• Royal hartigan Blood Drum Spirit Ensemble with Wes Brown, David Bindman,
Art Hirahara
Michiko Studios 3 pm $10• Willerm Delisfort Project
Minton’s 7, 9 pm $20• Meredith Monk/John Hollenbeck National Sawdust 6 pm $42• Roz Corral Trio with Michael Kanan, Paul Gill
		
North Square Lounge 12:30, 2 pm
• Nick Biello; Doug Wieselman
Rockwood Music Hall Stage 3 7, 9 pm $10-12• Mimi Jones and Friends
Room 623 at B2 Harlem 6 pm $15êDayna Stephens Quartet with Aaron Parks, Ben Street, Greg Hutchinson				
Village Vanguard 8, 10 pm $40• Afrofuturism: AfroCosmicMelatopia with Mwenso and The Shakes
		
Zankel Hall 7 pm $20-30êStephane Wrembel

Monday, February 28êSteven Bernstein’s Millennial Territory Orchestra with Catherine Russell

		
The Atlantic BKLN 9 pm $25
êOscar Noriega Quartet with Marta Sanchez, Christopher Tordini, Jason Nazary		Bar Lunàtico 9, 10:15 pm $10• Tony Glausi Quartet
Birdland Theater 8:30 pm $30
êVince Giordano and The Nighthawks
		Bond 45 8 pm $25• Gideon Forbes/Payton McDonald; Nick Lyons, Adam Lane, Vijay Anderson;
Stephen Gauci, Adam Lane, Kevin Shea; Joey Sullivan, TJ Borden, Kyle Motl;
Aron Namenwirth, Dave Sewelson, Patrick Golden
		Bushwick Public House 7 pm $15• Jamie Baum Septet+ with Amir ElSaffar, Sam Sadigursky, Chris Komer, Brad Shepik,
Luis Perdomo, Zack Lober, Jeff Hirshfield and guest Sachal Vasandani		Dizzy’s Club 7:30, 9:30 pm $35
êMingus Big Band; The Django Jam with Alexander Claffy		
The Django 7:30, 9:30, 10:30 pm
êEd Palermo Big Band
Iridium 8:30 pm $30• Broken Land: Samer Ghadry; Jeremiah Cymerman; Zachary Paul		
IRL 7 pm $15• Norah Jones/Christian McBride Ralph Pucci International 6 pm $250
• Charmaine Lee/Eric Wubbels; Beings (I.X.): Nate Wooley, Forbes Graham,David Byrd-Marrow, Weston Olencki, Dan Peck, Eric Wubbels
		Roulette 8 pm $25• John DiMartino
Soapbox Gallery 8 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

CLU B DI RE CTORY

records

independent
music
label
Milan - Italy
P. G. R.

Since 2014 I’ve had the luck, possibility (and guts?) to dedicate my life to exploring someparts of the world, driven both by curiosity and needs.
The chosen way (the only one possible, for me) has been to undertake long tours. Jumping
on this adventure, with no idea of what to expect, requires open brain, ears and good
adaptability.
What I have found since, is an endless count of good and bad experiences (which would nothave probably happened as much, if I’d stayed at home).
The people and the different cultures with whom I’ve had the pleasure to collaborate, havechanged my point of view on many things (which would not have probably happened if I
stayed home). Moreover, I will never forget how kindly I have been welcomed by complete
strangers, who eventually became friends.
The way some people manage to keep going, with more or less issues, is remarkable. In thesecases all the crap happening in the world seems like it vanishes and what remains reaches
a fulfilling empathy brought in not only by music related situations (concerts, festivals andrecording sessions), but also by simply chitchatting, going out for food, walking around.
What we do is pushed forward by our necessities. Apparently hard listening sounds, in orderto awake, isolate, risk, protest, ask, celebrate, cure, inform, annoy, pray…
I heartily thank the musicians I’ve had the pleasure to collaborate with and whoever hosted,
invited and organized an event, walked, loved, hated and travelled beside. I wish you all thebest in life.
I acknowledge that what I do is good for nothing and that by traveling I support a system thatis enemy to all (which would not have probably happened if I stayed home).
Time to stop all this will come…

“nodo 26”, xylography printed on Hosokawa paper, 43x30cm

Music by the musicians who played it
Liner notes by P. G. R.
Cover painting by Kim Bomi 2018, ink on paper
Inside photo by P. G. R. - Akita, Japan, 17.12.2017
Mixed and mastered by Gianmaria Aprile
Edited by Gianmaria Aprile, P. G. R.
and Giancarlo Locatelli
Thanks to the people who played and to We Insist!
Design by Maobi
Produced by WE INSIST! Records, 2021
Distributed by Goodfellas

2.28
4.37

P. G. R., Eb alto clarinet on 7 and 8, electronics on 8
Gianmaria Aprile, electric guitar, effects
Gorla Maggiore, July 2018
Recorded by Gianmaria Aprile
records

weinsistrecords.com

Distributed byrecords

gianmaria
T K
aprileR A
rain
I K
ghosts
one
O U
dog
P A
and
empty
I N
woodlandphoto (Polaroid) by Mariangela Vaglio

Photo by Miki GoldenMichel Doneda: soprano and sopranino sax
Andrea Grossi: double bass
Filippo Monico: drums and percussions
3.22
5.28
7.03
19.34
6.51

Photo by Gianni Grossi

Bonifati: electric guitar / Simone Quatrana: piano / Andrea Grossi: double
positions / Filippo Sala: drums.

Design by Maobi
Produced by WE INSIST! Records 2021
Distributed by Goodfellas

mpositions are by Andrea Grossi.

CDWEIN14

catelli: Bb and bass clarinets, soundpainting / Gabriele Fava: soprano andMusic by M. Doneda, A. Grossi & F. Monico
Liner notes by M. Doneda
On cover collage by Michel Doneda
Inside photo by Gianni Grossi
Recorded at Filippo’s cellar on January 18th 2019 by A. Grossi
Mixed at Argo Lab by Gianmaria Aprile and Giancarlo Locatelli
Mastered by Gianmaria Aprile
Thanks to Giancarlo nino Locatelli, Maria Borghi, Gianmaria Aprile and all the
WE INSIST! Records team. In memory of Lelio Giannetto.

KORR
Tombé de la voûteKORR Tombé de la voûte

01 - not impro in roc
02 - crucible
03 - tet’ss
04/10 - f.t.f.
11 - re:callgianmaria
aprilerain
ghosts
one
dog
and
empty
woodland

Dedicated to Masaki Iwana

KORR Tombé de la voûte

4.13
2.01
4.51
5.55
3.30
5.14
3.04
3.08

weinsistrecords.com

Distributed byrecords

PART I
PART IIPART IIIPART IVPART VPART VI
PART VIIPART VIII

in viaggio

FOUR WINDSro TornaPart 1)
Part 2)(Part 1)
(Part 2)

© & P 2020

1.
2.
3.
4.
5.
6.
7.
8.

records

Andrea Grossi Blend Orchestra

os
ro
os

L I
Gianmaria
Aprile - guitar, guqin, effects
Music
I T by Gianmaria Aprile
Liner notes by Alberto Anadone
N E
On cover xylography by Gianmaria AprileEwww.sentimentoinatteso.it
Recorded by Gianmaria Aprileat Argo Laboratorium, 2017
Mixed by Gianmaria Aprile at Solbiate, 2018
Mastering by Kassian Troyer
Thanks to Luca Tilli for his celloDesign by Maobi
Translation by Leonardo Falascone
Produced by WE INSIST! Records, 2020

rain, ghosts, one dog and empty woodland

records

Grossi Blend Orchestra

UR WINDS

in viaggio
records

The cellar
Active place, Acting.
The orchestra, invisible, alone with these mysterious
sound games resonating on the walls of the cave.
An abstract fire made of real gestures.
Blows, strings, skins, wood, metal.
Games of nothing forever, to begin, to continue.
Games that light a lamp in a dark corner of the city.
Surely a few butterflies will approach its light which isstill to be born.

P 2021©&©

M. Doneda

Quando mia figlia Maddalena era molto piccoladisegno, una via di mezzo tra un cerchio ed uvuota, tra il verde e l’azzurro sul foglio bianco. L
cosa rappresentasse e lei mi disse: un uomo che
Ricordando quel disegno a distanza di molti ann
una serie di brani dal carattere semplice, naïinfantile che fossero circolari come il diseg
potessero finire e ricominciare all’infinito senza s
di continuità.
La decisione poi di non fissare e definire
indicazione riguardo allo sviluppo dei temi nel
d’improvvisazione che li seguono risponde all’e
personale di lasciare aperta qualsiasi possibi
sorpresa che nasce dal rischio, dall’ascolto
profonda fiducia.
La scelta dei compagni di viaggio Silvia Bolo
Cristiano Calcagnile, che ringrazio di cuore p
voluto condividere tutto questo, è legata all’amici
stima e alla collaborazione che da tempo condivi

When my daughter Maddalena was very young she drewa picture, a cross between a circle and an empty ellipse,
between green and blue on the white paper. I asked her
what it represented and she told me: a man flying.
Remembering that drawing many years later, I wrote a
series of simple, naïve, almost childish pieces that were
circular like the drawing, so that they could end and startover and over again without interruption.
The decision not to fix and define any indication about
the development of the themes in the improvisation parts
that follow them responds to the personal need to leave
open any possibility of surprise that comes from risk,
listening and deep trust.
The choice of my travelling companions Silvia Bolognesi
and Cristiano Calcagnile, whom I thank from the bottomof my heart for wanting to share all this, is linked to thefriendship, esteem and collaboration that we have been
sharing for a long time.

7. It’s rainy and we keep on walking
8. In the wood

2.15
3.53

P. G. R., Bb clarinet
Matias Guerra Herreros, electric guitar
Milan, 16th June 2018
Recorded by Matias Guerra Herreros

P. G. R., Bb clarinet
Fangyi Liu, Microphoned objects
Kaohsiung, Taiwan, 9th January 2020
Recorded by P. G. R.

Enjoy your listening!

11. Viajè en la Puna
12. Y al final?

5. When you start thinking, it’s already wrong 1.57
6. No need to talk
4.23

PAOLO GAIBA RIVA
Expeditions

gianmaria aprile

CDWEIN11

weinsistrecords.com

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3.29
5.43

P. G. R., electronics on 3 and 4, Bb clarinet on 3
Pedro Lopes, drumtables
Berlin, September 2016
Recorded by Pedro Lopes

P S
E U

ositions by G. Locatellit for 1 and 10 by G. Locatelli - A. Grossi - C. Calcagnile
ded by Gianmaria Aprile at nibirucri station on 04 April* andNovember 2019at Argo Lab by Gianmaria Aprile and Giancarlo Locatelli
red by Kassian Troyer
ations by Maria Borghis to Gianmaria Aprilen by Maobi
ced by WE INSIST! Records, 2020
buted by Goodfellas
records

3. Fatal allergy
4. Toi même

4.15
3.57

P. G. R., electronics and Bb clarinet
Chia-Chun Xu, no-input feedback by dv recorderand boom boxes
Kim Bomi, spring, contact mic and fx
Taipei, Taiwan, 14th January 2020
Recorded by P. G. R.

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Bb clarinet, Alto clarinet on 7 and 8
double bass
drums, percussion

9. Do everything or nothing?
10. Almost there

CDWEIN16

arlo nino locatellia grossi
ano calcagnile

KAKUAN SUITE

1.42
3.52
4.59
5.43
4.47
5.14
5.19
4.41
4.21
2.26

1.35
2.09

P. G. R., Bb clarinet/Deng-Yao Chang,
Erhu
Hsinchu, Taiwan. 10th January 2020
Recorded by P. G. R.

PAOLO GAIBA RIVA Expeditions

TRIO PIPELINEe corna
ito*
oti
ro
ori
rto (take 2)rtitri
rto (take 1)
a coda2020

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1. Lost between the temple and the city hall
2. You always come back here

in viaggioo Maddalena Braidaks to “Monk” (my cat)

CATS IN THE KITCHENPAOLO GAIBA RIVA Expeditions

alberto braida silvia bolognesi cristiano calcagnile

CDWEIN15

ions by Alberto Braida
by Alberto Braida
by Cristiano Calcagnile
Shape Shoppe Paradiso Studio, Monteriggioni (Italy),
1,and 22, 2020
Griffin Alan Rodriguez
ffin Alan Rodriguez
Gianmaria Aprileaobi
WE INSIST! Records 2021
by Goodfellas

alberto braida silvia bolognesi cristiano calcagnile/cane e gatto

e
certo

4:58
4:48
7:47
4:09
4:38
5:03
5:32
4:19

alberto braida silvia bolognesi cristiano calcagnile

piano
double bass
drums, percussion

CATS IN THE KITCHEN

CATS IN THE KITCHENdanesi
cagnilein viaggio

Andrea Grossi Blend Orchestra

non dire
dire
Concert by an italian company“Let’s go home, Fëkla Kuzminišna! What the hell kind of music is this? I threw my money
away. They look like dogs howling in front of a dead man... But can we compare our Van’ka?!
(quilìWhen he plays the balalajka, it gives you goosebumps!“
dire

non dire

Il lubok era un tipo di stampa popolare russa
diffusa nell’Ottocento, colorata a mano dalleli.qui.dodonne che vi stendevano ampie macchie di colori accesi che, sovrapposte alle scene, neevidenziavano alcuni particolari ed, allo stesso tempo, creavano una sorta di sovra-struttura
astratta in contrapposizione all’immagineli.qui.diamo
originale.
Dopo averne visti alcuni ne rimasi profondamente colpito, la forza tra il distacco netto delcolore puro e la semplicità (per quantoa voltedellaraffinata)delle stampe e, allo stesso tempo,
decalogopresenza
il fatto che proprio queste macchie evidenziassero alcuni elementi del disegno sottostantehanno da subito creato un intero mondo sonoro dentro di me.
E’ da tempo che lavoro (ri)cercando di unire esserci
e miscelare vari linguaggi, non a caso questo
gruppo si chiama Blend, e trovo che il lubok in
un certo senso simboleggi proprio questa
dove
mia fase di ricerca che attinge da tutte le “tradizioni”
per musicali del ‘900 ma che allo stesso
tempo mi consente di guardare avanti elaborando un mio stile personale.

Blend 3 è un organismo composto da tre personalità differenti ma affini, che esplora lepossibilità sonore di un trio che, senza alcuna scaletta prestabilita, utilizza composizione
ed improvvisazione come unico materiale.
In questo modo ciò che già è scritto viene proposto con la stessa presenza e freschezzadi un’improvvisazione e, allo stesso tempo, l’improvvisazione come prassi e non comegenere viene sviluppata con profonda funzione compositiva.
Blend 3 non sa quanti brani suonerà o quanto improvviserà, conosce soltanto il suo
bisogno primario: prendere nuovamente vita ricercando un costante senso di unicità.

Concerto di una compagnia italiana
lì buttato via i miei soldi.
“Andiamocene a casa. Fëkla qui
Kuzminišna! Che razza di musica è? Ho
Sembrano cani che ululanolìdavanti a un morto… Vuoi mettere il nostro
qui Van’ka?! Quando
suona la balalajka ti fa venire la pelle d’oca!“
monticelli brusati . franciacorta

Andrea Grossi Blend 3

Manuel Caliumi / Michele Bonifati

Photos by: Roberto Masotti

1 - Prologue *2 - Mendicus (Part 1)
3 - Mendicus (Part 2)
4 - Iwato
5 - Ru-Bok
6 - MC
7 - SnailFail **8 - SnailTale
9 - Van Gundy’s Retreat ***Andrea Grossi Blend 3
Manuel Caliumi / Michele Bonifati

Thanks to:
Giona Beltrametti

Il molo di Sperlonga,
1979 - Ink on paper
Franco Beltrametti

Total time 40:50

All the compositions are by A. Grossi except for: * by M. Caliumi, M. Bonifati, A. Grossi / ** by M.
Bonifati / *** by Tim Berne
01 I do not believe
02 traces
03 joy04 prayer
05 the rent
06 a lacy sunday (pipeline 8)
07 (around blinks) trickles

10.36
7.00
5.08
11.34
8.52
2.29
12.27

Manuel Caliumi: alto sax / Michele Bonifati: electric guitar / Andrea Grossi: double bass, compositions
Thanks to: my parents (Gianni & Monica) and my family, that gave me the freedom to choose mypath; my mentor (Roberto Bonati), who gave me the tools to search my own path; Caterina, who walks
beside me whatever path I choose.
Thanks also to Simone Sanvito, Grace Youngalberto
and Ricardo
Costa giancarlo
for the translations.
braidanino locatelli
A special thanks to Maria Borghi and Nino Locatelli of WE INSIST! Records who believed in me andmy music, who accepted it without any compromise.

from here

For many years we have been on the embankment.
One this way, the other that way. In the middle the same river.
From the embankment you can see beyond, you can see on the other side, you can see
embankments.
On the embankment we stop to look, to listen...
The embankment contains, can be overcome, divides different materials, is a passag
passive defense, resists ... is edge, verge, hem, extreme part of a surface, contour, amnecessary, rise, shelter.
Everything that prevents the occurrence of a harmful event.
Da molti anni ci troviamo sull’argine.
Uno di qui, l’altro di la. Nel mezzo lo stesso fiume.
Dall’argine si vede oltre, si vede dall’altra parte, si vedono altri argini.
Sull’argine ci si ferma a guardare, ad ascoltare…
L’argine contiene, può essere superato, divide materie diverse, è zonaè difesa passiva, resiste… è bordo, ciglio, orlo, parte estrema di una su
contorno, quantità in più rispetto al necessario, rialzo, riparo.
Tutto ciò che impedisce l’accadere di un evento dannoso.

pipeline 8 prayer

from there

Recorded by Gianmaria Aprile (Dr. Capricorn) at Argo Laboratorium, Gorla Maggiore (VA), on
September 24 & 25 2018.
Mixed by Simone Coen (Assistant Engineer: Vito Ruggieri) at Chocolate Audio Studio, Seregno (MB).
Mastered by Andrea De Bernardi at Eleven Mastering, Busto Arsizio (VA).
Cover: Original Lubok “Koncert ital’janskoj truppy” (concert by an italian company), lithography, 1889.
Liner notes by Roberto Masotti / Band Photo by Anna Ferro / Rec Session Photos by Gianni Grossi.
Design by maobi.it

Produced byrecords

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Distributed bypipeline 8 prayer
giancarlo nino locatellibass clarinet, percussion
gabriele mitelli
pocket trumpet, genis, percussion
sebastiano tramontana
trombone, percussion
alberto braida
piano,plays
percussion
Giancarlo “nino” Locatelli
Steve Lacy
gianmaria aprile
guitar, percussion
luca tilli
cello, percussion
andrea grossi
double bass, percussion
cristiano calcagnile
drums, percussion

pipeline 8 prayer

sitions by Steve Lacy.
rlo “nino” Locatelli Bb clarinet on 1-10, bass clarinet on 11 and 12
corded on the mountains at home in Pizzino Frazione Grasso, Taleggio BG onugust 2014.
ence, cow bells and crickets from the environment out of the window
12 recorded at CPRF Rai Roma on 28 January 2011 during the program Rai
Battiti. Sound engineer Genesio Di Iacovo.
s a lot to Pino Saulo and Antonia Tessitore.
by Gianmaria Aprile.
thanks to my family and their patience: Simona, Giovanni and Emma.
ork is dedicated to my great friend Tom Raworth and his words: “I try to be
and to see what sounds”.

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4.17
5.04
4.01
3.55
4.44
3.14
3.38
3.37
6.24
5.02
2.12
3.33

situations Giancarlo “nino” Locatelli plays Steve Lacy

rlo “nino” Locatelli plays Steve Lacy

ations (take 2) (T. Raworth)
eem
dumps
ence (T. Raworth)es for Aida (from manyo shu)e fois (from manyo shu)
baby
kles
ning joy (B. Kaufman)ations (take 1) (T. Raworth)Crust
es for Aida

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ions

CDWEIN13

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Blend 3 is an organism made up of three different but similar personalities. The groupexplores the diverse sonorities of a trio that, without a predetermined set, utilizes
composition and improvisation as its only resources.
By means of this combination of composition and improvisation, what is already written is
proposed in an original and revisited way time after time. Concurrently, improvisation as an
actual practice rather than as a genre is developed with a deep compositional function.
Blend 3 does not know how many pieces it will play or how long it will improvise for. The
only thing it knows is its primary need: to come alive repeatedly by researching a constantsense of uniqueness.

locatelli Bb clarinet
piano

rto Braida and Giancarlo LocatelliAlberto Braida and Giancarlo Locatelliy Miki Golden
acopo Malusardi at Casa Del Popolo in Lodi on 31st of March 2012
po Malusardi
Gianmaria Aprileobi
WE INSIST! Records 2021
Goodfellas

IL PENDIO

az. agr.
viticoltura e olivicoltura pedemontana

records

Andrea Grossi Blend 3

3.58
3.54
5.14
6.28
4.13
4.17
4.14
3.25
4.25

© & P 2019

records(A. Braida)
Locatelli)t (A. Braida)catelli)a (A. Braida)he color of saying (A. Braida)ocatelli)
A. Braida)ocatelli)… to Mariangela
Gabriele Mitelli - cornet, soprano sax, alto flugelhorn, electronics, object, voice
Music by Gabriele Mitelli
Liner notes by Rob Mazurek and Nicola Di Croce
Cover photo by Gabriele Mitelli (polaroid) taken in Reggio Calabria on the boat of Pasquale
and Giuseppe Vaglio during the tuna fishing in the Straigh of Messina
Recorded live by Paolo Zanotti at CSAC Abbazia Valseriana, Parma on 2nd December 2017
Mixed by Marco Tagliola at Studio Mobile Mar Moons Lab
Mastering by Pierpaolo Alessi at Gotama Studio
http://gabrielemitelli.wixsite.com/music

G BRIELE MITELLI The World Behind The Skin

weinsistrecords.com

alberto braida giancarlo nino locatelli from here from therea giancarlo nino locatelli from here from there

12.57
08.57
09.39
13.31

Design by maobi.it

records

weinsistrecords.com

01 Trip to the abysses
02 Just take another03 The fisherman’s prayer
04 The red sunrise and the octopus

records

Thanks to Mariangela, Roberto, Valeria, Marta, Pino, Maddalena, Michele, Luca, Paolo,
Nicola Di Croce, Rob Mazurek, Marco Scotti, Beppe Rusconi, Corrado Beldì…
Translate by Nicola Di Croce

INSIST! Records, 2019
Sandra Scurani

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G BRIELE MITELLI The World Behind The Skindi silenzio svelatoda qui , da lì?

Alberto Braida
tto in Prova, Milan by Jacopo Malusardi
d 8, 2018
ab by Gianmaria Aprile
maria Aprile
ove with the moon” by Alberonero
Antonio Mazza
Miki Golden
iancarlo nino Locatelli
tra Aprile

records

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The lubok was a type of popular Russian print widely spread in the 1800s that was handlì
qui)
colored by women who brushed large spots of bright colors over the painted scenes. The
overlap between the colors and the scenes highlighted some details of the picture and, atthe same time, created a sort of abstract structure
in juxtaposition with the original image“come dire”
After seeing some of these prints, I was deeply moved. The powerful contrast between thepure bright color and the simplicity – although often refined – of the print, and the fact that
il necessario
those very bright spots were highlightingsome traitsinutileof the underlying picture, immediately
l’inutilenecessario
created a whole universe of sonorities insideof me.
I have been working for a while attempting
to merge
and mix different languages, hence thespazio/ temponame Blend, and I feel as if the lubok, insome -way,symbolizes my phase of research that isveloceistantaneo
based on musical “traditions” of the 1900s but also a personal forward-looking style.

43.19

iano

FOUR WINDS

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G BRIELE MITELLI The World Behind The Skin

15.16
06.07
15.49
06.47

e moon I
e moon IIe moon III
e moon IV

ALBERTO BRAIDA IN LOVE WITH THE MOON

BRAIDA
WITH THE MOON

P 2021©&©

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20

situations

Compositions by Steve Lacy except 06 - a lacy sunday by pipeline 8
Recorded live at Pisa Jazz, Teatro Sant’Andrea by Griffin Alan Rodriguez,
November 27 and 28.
Mixed at Argo Lab by Gianmaria Aprile and Giancarlo Locatelli.
Mastering: James Plotkin.
Cover Art by Enzo De Grandi, Senza Titolo 2001 60x60 varnish on MDF.
Thanks to: Francesco Mariotti, Francesco Martinelli, Griffin Alan Rodriguez andSilvia Bolognesi.
Photos by Francesco Martinelli
All Rights Reserved

ainting: detail from “Il molo di Sperlonga” - Franco Beltrametti

by Roberto Masotti

hts Reserved
Design by:records

Design by:records

records

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ed by:

Produced by:/ graphic design/ advertising/ corporate & brandweinsistrecords.com

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THE NEW YORK CITY JAZZ RECORD | FEBRUARY 2022 35