YOUR FREE GUIDE TO THE NYC JAZZ SCENEJANUARY 2023—ISSUE 249

NYCJAZZRECORD.COM

AL

FOSTER

REFLECTIONSS PE C I
F E ATU AL
B ES T RE :O
2022 F

JAMAALADEENTACUMACORY
SMYTHE

EGBERTOGISMONTITOOTSTHIELEMANS

Managing Editor:
Laurence Donohue-Greene[Co-Founder/Editor Emeritus: Andrey Henkin]

To Contact:
The New York City Jazz Record
66 Mt. Airy Road East
Croton-on-Hudson, NY 10520
United States
Phone/Fax: 212-568-9628
Laurence Donohue-Greene:ldgreene@nycjazzrecord.com
Advertising:advertising@nycjazzrecord.com

JANUARY 2023—ISSUE 249
NEW YORK@NIGHT
INTERVIEW : JAMAALADEEN TACUMAARTIST FEATURE : CORY SMYTHE

Calendar:calendar@nycjazzrecord.com

ON THE COVER : AL FOSTER

VOXNews:
voxnews@nycjazzrecord.com
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For subscription assistance, send check, cash ormoney order to the address aboveor email ldgreene@nycjazzrecord.com

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

ENCORE : EGBERTO GISMONTILEST WE FORGET : TOOTS THIELEMANSLABEL SPOTLIGHT : LE COQ
VOXNEWSFESTIVAL REPORTALBUM REVIEWSSPECIAL FEATURE : BEST OF 2022
OBITUARIESEVENT CALENDARCLUB DIRECTORY

Contributing Writers
Mike Cobb, Jason Gross, George Kanzler,
Franz Matzner, Monique Ngozi Nri
Contributing Photographers
George Council, Ian Douglas,
Peter Gannushkin, Jimmy Katz,
Alan Nahigian, Adrien H. Tillmann,
Aaron Winters

nycjazzrecord.com

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by mike cobb
by john sharpe
by russ musto
by george grellaby ken dryden
by jim motavalli
by suzanne lorge
by robert iannapolloby andrey henkin

Welcoming in a new year inevitably gives us all pause and a time to reflect on the past year and,perhaps, set realistic and sometimes (OK, many times) not-so realistic goals for the incoming year. Our
January issue includes our customary and always highly anticipated “Best of the Year” centerspread(pgs. 22-23). Dig into the year’s highlights including what you may have missed. And speaking of
missing, we have dedicated the last pages of the album review section as an extension to the In Memoriam(pgs.34-36), honoring and remembering the many contributors the jazz world lost last year.
In the case of The New York City Jazz Record and for me personally and professionally atthis point in time, it is beyond just a look back at 2022 but also the 20 years prior. It was May 2002 thisgazette you hold in your hands was originally co-founded by myself and Andrey Henkin (“Editorial
Director”, “Production Manager” and a host of other hats he wore to help make this publication a
reality month in and month out). After a two-decade run together, January 2023 marks Andrey’s final
issue with the gazette. It will be a period of transition of course, but we at TNYCJR wish Andrey thebest in his future endeavors. He has left an indelible mark that will forever be appreciated and recognized.
And as one chapter ends, another begins: please join me in welcoming to the TNYCJR staff:
Nate Dorward (Copy Editor), Keith Hoffman (Event Calendar Manager), Tom Staudter (In Memoriam)and Design2Pro (Layout/Design), together helping to fill the void left by Andrey’s departure. Our goal
will be for you, our dear readers, not to notice any change but continue to enjoy the high quality ofcoverage in what you have come to expect each time you pick up a copy of TNYCJR. Happy New Yearand see you out at the shows!
—Laurence Donohue-Greene, Managing Editor
On The Cover: Al Foster (Jimmy & Dena Katz / courtesy of Smoke Sessions)
Corrections: In last month’s NY@Night, the correct title of the Scott Robinson piece is“Hypocycloid“. In last month’s EdgeFest report, the guitarist with William Hooker was Hans
Tammen and the bassist celebrated by WeFreeStrings was Fred Hampton.
All rights reserved. Reproduction without permission strictly prohibited. All material copyrights property of the authors.

2 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORDNEW YORK @ NIGHT
Threadgill’s Zooid and International
Contemporary Ensemble (ICE) attracted a throng of
curious listeners to Skirball Center (Dec. 3rd) for the
NYC premiere of the Pulitzer laureate’s Pathway,
performed by himself (alto saxophone, soprano/bass
flutes), Liberty Ellman (acoustic guitar), Christopher
Hoffman (cello), Jose Davila (trombone/tuba) andElliot Humberto Kavee (drums), alongside ICE’s
Michelle Farah (English horn), David Byrd-Marrow(French horn), Josh Modney (violin), Joanna Mattrey(viola), Lizzie Burns (bass) and Levy Lorenzo(percussion), Vimbayi Kaziboni conducting. The
hendectet was arrayed in two wide rows, Kaziboni up
front, beating out rapidly shifting rhythmic cycles of 3,4, 5 and 6 beats, or else laying out to let the ensemble
find its own course. The suite was organized into a
series of solo, duo and small-group improvisations,giving all the musicians room to explore, each usually
beginning alone, to be joined by one or more
co-improvisers, then dropping out as the joiners
carried on. Even the few full ensemble sections
retained independence of parts, each instrument a
distinct spot of color, isolated yet integrated into theoverall composition, like pointillist paintings, best
observed at a distance. Threadgill, resplendent in abright yellow inverted flowerpot hat and somber blackvest, knees akimbo, imagination on full tap, set thetone with his singular merging of youthful exuberancewith worldly wisdom. 		
—Tom GreenlandNEXT GENERATION JAZZ
Liam Sutcliffe Quartet
April Varner Quartet

7:30pm
10:30pm

TUE
1/3“Tango At The Django”
The Pedro Giruado Quartet
Los Hacheros

7:30pm
10:30pm

WED
1/4

John Sneider Quintet
Eric Alexander Quartet

7:30pm
10:30pm

THR
1/5

Tim Ries & Friends
Richie Vitale Quintet

7:30pm
10:30pm

FRI
1/6

Rick Germanson Trio
Mariel Bildsten Septet

7:30pm
10:30pm

SAT
1/7

David Gibson Quartet
Richard Cortez Band

7:30pm
10:30pm

SUN
1/8

Alexander Claffy Quartet
Andy Ezrin Trio

6:30pm
9:30pmMON
1/9

David Yee Quarte
Esteban Castro Trio

7:30pm
10:30pm

TUE
1/10

Manuel Valera & New Cuban Express 7:30pm
Sonido Costeno
10:30pm

WED
1/11

Joe Strasser Trio
Ben Wolfe Trio

7:30pm
10:30pm

THR
1/12

Miki Yamanaka Trio
David Weiss Sextet

7:30pm
10:30pm

FRI
1/13

Charles Ruggiero Quartet
Ty Bailie B3 Trio

7:30pm
9:30pmSAT
1/14

Jason Tiemann Trio
Sarah Hanahan Quartet

7:30pm
10:30pm

SUN
1/15

Dwayne “Cook” Broadnax Quartet
Michael Kanan Trio

6:30pm
9:30pmMON
1/16

Thomas Linger Quartet
Hank Allen-Barfield Quintet

7:30pm
10:30pm

TUE
1/17“Conrad Herwig and the Latin Side
All-Stars” Residency

7:30pm
9:30pmSee The Line-Up AND Reserve At
THEDJANGONYC.COM
DINNER, LIBATIONS & LIVE JAZZ!
IN THE OF TRIBECA

2 AVE OF THE AMERICAS

IAN DOUGLAS

Monday Nites ft. Up & Coming Talent!
7:30pm & 10:30pm Shows Every Week!

combined with a panel discussion about bandleader
James Reese Europe (1881-1919) and his far-reachinginfluence (Dec. 8th), put a spotlight on this muchforgotten man whom Eubie Blake called “the Martin
Luther King of music”. The panel of Jimmy Owens,
Bobby Sanabria and Elena Martinez, moderated by Dr.
Paul Austerlitz, revealed a giant who set the stage forall that was to come in ragtime, blues, protojazz andjazz. The largely unknown Latin influence of the era
was also addressed. Eight tunes, mostly associatedwith Europe, were superbly rendered by Dance
Clarinets, the clarinet orchestra founded and led by JD
Parran. Nine variously tuned clarinets, an alto clarinet
and two bass clarinets played in the style of the day,remarkably utilizing harmonies and creative
arrangements for a full orchestral sound. A bass
saxophone, bass and percussion rounded out therhythm. Beginning the concert with a whistle blow by
Parran, the band offered many familiar tunes,
including “The Memphis Blues”, “The Hesitation
Blues” and “St. Louis Blues”, all by W.C. Handy.
For contrast, two European-based numbers, which
Parran referred to as “gazebo music”, were the very
Germanic, John Philip Sousa-esque “Florentiner
March” (Julius Fucik) and “Toreador Song” (Georges
Bizet). “That Moaning Trombone” (Carl. D. Bethel)
was notable for the emulation of trombone slides by
the clarinet contingent.
—Marilyn Lester
GEORGE COUNCIL/POETICELEGANCEPHOTOGRAPHY.COM

Presenting

MON
1/2

A celebration of the Greenwich House Music School,

H enrytOpen a 30 pm!
6:Zooid & ICE @ Skirball Center

Dance Clarinets @ Greenwich House Music School

O utside, five floors below the sky-lighted loft atop The wonder of the transformative nature of jazz was
the neo-Gothic edifice housing Fotografiska, a 22ndStreet photo gallery/restaurant-cum-performance
space bordering the Flatiron and Gramercy Park
districts, emergency vehicle sirens wailed up anddown Park Avenue South, a stark contrast to thesubdued atmosphere inside (Dec. 1st), wherecontrabass clarinetist Josh Sinton sat alone, back to his
audience, watching as blurred images played acrossthe behind-stage screen in an unbroken chain ofvaguelyfamiliar
items—flowerbeds,
marineorganisms, bees on honeycomb, a struck matchstick,a boy’s face—all superimposed in rotating layers ofbright cerise and chartreuse, pulling in and out offocus, slowly increasing or decreasing in tempo.
Facing the amplifiers and working his volume pedal,
the sound panned across four large speakers spread
across the exposed, jumbo-brick front wall, Sinton
found and exploited separate pockets of simultaneouselectronic feedback: a low register, Sousaphone-like
hum, a higher tone resembling, perhaps, an amorous
elephant, topped by odd-numbered overtones. He
kept each going with circular breathing, feathering thetones with his pedal to effect subtle swells and fades—in a sense playing the amplifier more than the horn—achieving in his half-hour meditation a transcendent
moment in time, accompaniment, counterpoint, maybe
even an antidote, to the relentless sirens and otherurgencies of the sleepless city outside.
(TG)

4 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

front and center in this year ’s Big Band Holidays,presented by the Jazz at Lincoln Center Orchestra with
Wynton Marsalis at Rose Theater (Dec. 14th). A
handful of bandmembers created spirited newarrangements of old-school tunes such as saxophonist
Sherman Irby’s “All I Want for Christmas is My Two
Front Teeth” (Donald Yetter Gardner) in a fun swing
and trombonist Chris Crenshaw’s traditional-turnedwhimsical “Deck the Halls”. Outstanding was bassist
Carlos Henriquez’ AfroCuban arrangement of “Santa
Claus Is Coming to Town” (J. Fred Coots-Haven
Gillespie) with genius drummer Obed Calvaireoutdoing himself with clavé rhythms and othercreative percussive ideas. Guest vocalist, bright lightof jazz and recently Grammy-nominated Samara Joy,
was generously featured, offering “Warm in December”(Bob Russell) paired with an Ella Fitzgerald/Louis
Armstrong-inspired “I’ve Got My Love to Keep Me
Warm” (Irving Berlin). But it was on “My Favorite
Things” (Richard Rodgers-Oscar Hammerstein II) that
Joy pulled out all the stops, with prime scat andvocalizations. “Heat Miser” (Maury Laws-Jules Bass),from the 1974 animated film The Year Without A Santa
Claus, matched the funk approach to “This Christmas”(Donny Hathaway-Nadine McKinnon), with Joy, who
added Fitzgerald-style lyric improvisations. Big Band
Holidays offered an over-stuffed stocking of eclectic
holiday and seasonal tunes. 		
(ML)

The first week of his annual holiday season residency

Catalytic Sound is “a co-operative, in the truest sense,

between artists and patrons” reminiscent of the greatly
missed New Music Distribution Service. More so, its
live component. The Catalytic Sound Festival has
grown exponentially, this year in Chicago, Asheville,
Washington DC, Hartford, Norway, Netherlands and
New York. The latter, over two days, featured some of
the most celebrated modern visionaries. Day 2 at 411
Kent’s Shift Series (Dec. 10th) opened with a saxophone
duet by Ned Rothenberg and Copenhagen’s Lotte
Anker exchanging drone-based improv locked into akinetic pulse. The near electronic-sounding set led tothe expansive soundscape of Zeena Parkins’ electric
harp, Cecilia Lopez’ laptop and Shift director David
Watson’s bagpipes. The strings of the harp wereplucked, scraped and rubbed percussively as bagpipes,
in evocative, lonesome circular breathing, threaded
through a plane of electronics. A particularly
outstanding segment had pianist Sylvie Courvoisier,bassist Brandon López, drummer Chris Corsano andcellist Fred Lonberg-Holm in a powerfully lengthy
work. The latter was out front as the group deftly
improvised from the meditative to the thunderous aseach instrumentalist paired with the next (LonbergHolm/López’ dual bowing!) into a rising climax, eachfeatured in their own and the collective right. The
festival’s genre-shredding was loudly welcomed by
Shift’s often youthful, burgeoning new music audience.
					—John Pietaro

ADRIEN H. TILLMANN - WWW.AHT1985.COM

PETER GANNUSHKIN/DOWNTOWNMUSIC.NET

at the Village Vanguard had pianist Kenny Barron
debuting a new edition of his quintet with alto
saxophonist Immanuel Wilkins and vibraphonist Steve
Nelson joining forces with longtime rhythm section ofbassist Kiyoshi Kitagawa and drummer Johnathan
Blake. Barron began his opening night (Dec. 13th)
second set fêting his fellow NEA Jazz Master Cedar
Walton, who held down the Christmas season spot at
the club for many years up until his death. He opened
the late pianist’s composition “Hindsight” with atender intro before the rest of the band, all playing
together for the first time, came in brightening the
tempo to a quick stepping pace. Nelson was up first in
the solo order, playing rhythmically over walking
bass. Wilkins followed, his racing notes propelled bydynamic drumming, which intensified as Barron took
over, taking things up a notch, interjecting Latin
flourishes, leading into Kitagawa’s lyrical statement
flowing into the out chorus. Wilkins was featured with
Barron on the Hoagy Carmichael-Ned Washington
ballad “The Nearness Of You”, then things ramped
back up for an incendiary rendition of former Barron
bandmate Victor Lewis’ “Hey, That’s Me You’re Talkin’To” with a climactic drum solo, which had the crowd
cheering wildly. The set concluded with the band
diving deep into the blues on Barron’s former
Sphere bandmate Gary Bartz’ Thelonious Monk tribute“Uncle Bubba”. 			
—Russ Musto

In addition to the schedule of performances, WinterJazzfest will include several panel discussions: “Why The
Jazz World Needs Gender Equity” (Jan. 12th at 5:30 pm
at City Winery); Ain’t But A Few Of Us (Jan. 15th at 1 pm
at Jazz Museum in Harlem); “State Of Jazz Radio In The
Digital Age” (Jan. 15th at 4 pm at Jazz Museum in Harlem);Celebrating Meghan Stabile And Revive Music (Jan. 17th
at 4 pm at Jazz Museum in Harlem); and “This Is A
Movement: The Current Status Of Gender Equity In Jazz”(Jan. 17th at 7 pm Jazz Museum in Harlem). For more
information, visit winterjazzfest.com.
As part of Arts for Art’s Studio RivBea Revisited program(Jan. 4th-8th), the opening night at Gene Frankel Theater(24 Bond Street, formerly Studio Rivbea) will include apanel discussion with participating artists and Brent Hayes
Edwards. For more information, visit eventbrite.com/o/arts-for-art-32602667245.
Jazz at Lincoln Center has announced the third annual
Jack Rudin Jazz Championship to take place on Jan.
14th-15th at Frederick P. Rose Hall and available tostream on jazzlive.com. Among the 10 ensembles
competing are Ithaca College. For more information, visit
jazz.org/jackrudin.
Philadelphia-based presenting organization Ars Nova
has moved into a permanent space, Solar Myth, which willallow it to “commit to programming months in advance or
spontaneously.” For more information, visit
arsnovaworkshop.org.
Pianist Jonathan Batiste was invited to perform at
President Joe Biden’s first White House state dinner in
December 2022.
New Jersey Performing Arts Center’s 25th annual TD
Jazz for Teens program will take place Jan. 21st-May
13th at NJPAC’s Center for Arts Education in Newark. The
cost is $650 per semester. Registration is required andfinancial aid is available. For more information, visit
NJPAC.org/arts-education.

Kenny Barron @ Village Vanguard

Lotte Anker & Ned Rothenberg @ 411 Kent

The Jazz Gallery continues to honor the legacy of its

Composer/guitarist Gene Pritsker has been lighting

cofounder with monthly concerts by the Roy Hargrove
Big Band (the trumpeter died in 2018 at 49). The
17-piece ensemble led by alto saxophonist Bruce
Williams began the year ’s final show (Dec. 1st)
charging out the gate with a hard-swinging take on
Hargrove’s “Public Eye”, featuring Freddie Hendrix’soaring trumpet and high-powered tenor saxophoneexchanges between Keith Loftis and Mike Lee, before
closing with an explosive Willie Jones III drum solo.
The mood mellowed with a lilting arrangement of thebeautiful John Hicks waltz “After The Morning”
featuring alto saxophonist Mark Gross and pianist
Tyler Bullock. The band continued with Hargrove’s
Family Trilogy, a medley of his “Velera”, “Roy Allan”
and “Brian’s Bounce”, written for his mother, father
and brother, respectively. The former was a stirringballad showcasing Hendrix’ flugelhorn; the next asoulful outing with guitarist Saul Rubin soloing
fluidly, followed by Camerahn Alforque’s brassy
trumpet, Williams’ funky alto and Jason Jackson’s
lyrical trombone. It finished with baritone saxophonist
Jason Marshall and trumpeter Nathan Ecklund
urgently bebopping at a racing tempo. Frank Lacy’s“Requiem”, a compelling processional, had classicallytinged flutes bookending a raucously swinging
midsection. Trumpeter Eddie Allen played tenderly on
the Luis Demetrio bolero “La Puerta”. The set ended
soulfully with Marshall’s “Mrs. Garvey”.
(RM)

W H AT ’ S N E W S

the night sky over our city for years via his Composers
Concordance organization, concert series and label,but his reach is far—orchestral, jazz, chamber, opera,
hip-hop and rock—and so far, Sound Liberation, which
played The Bitter End (Dec. 13th), best indicates thebreadth of his art. The guitarist, along with trumpeterFranz Hackl and drummer David Rozenblatt, are often
the band’s core, but Pritsker is wont to vary musicians.
This evening, Melissa Slocum held the bass chair,locking in magnificently with Rozenblatt (just off
dates with Barry Manilow), and guests were pianist/composer Matt Herskovitz, violinist Lara St. John andvocalists David Banks and Sophie Duner. The material
was just as disparate, with an opener based on a
Chopin polonaise, which included Herskovitz’
rapturous piano solo, St. John’s astral resounding andHackl’s soaring lines. Pritsker then shredded theatmosphere with a solo recalling Fripp, Hendrix,
Clapton and Santana. Next was a medley of Vivaldi’s“Summer” and Tadd Dameron’s “Hot House”, realized
as a waltz into 4/4 swing and uptempo bop. Banks’warm baritone crooned Pritsker ’s “I’m on a LuckyStreak with You”, a highly expansive blues, and Dunerwas called up for outstanding scat vocals, leaningeasily against original music morphing into Brahms
and erupting into Rozenblatt’s Krupa-like tom-toms. If
this be New Music, it is the sort best viewed with eyes
locked into a convex rear-view mirror.
(JP)

It has been reported that the Scott Joplin House in St.
Louis, part of the National Register of Historic Places, wasvandalized and that many of the artifacts contained withinwere destroyed by a man suffering from mental illness.
APAP|NYC+, the Association of Performing Arts
Professionals’ 66th Annual Global Gathering of the
Performing Arts Industry, returns in person in New York
City Jan. 13th-17th, 2023. For more information, visit
https://apap365.org/conference.
Roulette will present the New York premiere of the film
Deep Listening: The Story of Pauline Oliveros
Jan. 29th at 5 pm, including Q&A with director Daniel
Weintraub and executive producer IONE. For more
information, visit roulette.org.
The Pennsylvania Historical & Museum Commission has
approved the nomination of trumpeter Lee Morgan for ahistorical marker, to be installed in front of the former
location of Music City where as a high school student
Morgan participated in instructional clinics and Tuesdaynight jam sessions.
The Jazz Loft in Stony Brook announced it has received
two grant awards totaling $50,000 from the New YorkState Council on the Arts to support the significant
programming additions to the 2023-24 season and allow
the Jazz Loft to highlight collaborations with music
students in the Loft School of Jazz program. For more
information, visit thejazzloft.org.
Submit news to ldgreene@nycjazzrecord.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 5

INTERVIEW

JAMAALADEENALAN NAHIGIANTACUMA

Ornette found himself in a period where disco was
happening. He took advantage of working withyounger musicians who knew all about that.
TNYCJR: How do you think of yourself as a musician
and how has your style changed over the years?
JT: I think of myself as a bass guitarist who works invarious settings. For me it’s infinite. My approach tomusic has no ending.
TNYCJR: How do you define funk in relation to
groove?
(CONTINUED ON PAGE 13)			

by mike cobb
Jamaaladeen Tacuma is an American free jazz bassist,composer and interdisciplinary artist. Working with Ornette
Coleman during the ‘70s-80s put him on the international
map. Known for his unique style and visual flair, Tacuma
has performed and recorded with saxophonist Pharoah
Sanders, Grover Washington, Jr., David Murray, Odean
Pope, Wolfgang Puschnig and James Carter. He has worked
with orchestras led by Anthony Davis at Carnegie Hall,
recorded and performed with The Roots, DJ King Britt and
DJ Logic, as well as with Vernon Reid and G. Calvin Weston
and Bauhaus member Peter Murphy. Tacuma has collaborated
with guitar legends Jeff Beck, Carlos Santana, Marc Ribot,
James Blood Ulmer, Jean-Paul Bourelly and Derek Bailey.
He also played with the Saturday Night Live Band andacted as the Band Director on the David Letterman Show.
We spoke to Tacuma recently about his accomplished careerand his upcoming performance billed as “Jamaaladeen
Tacuma’s Jet Set”, which is part of the Winter Jazzfest.
The New York City Jazz Record: How did you come tomusic?
Jamaaladeen Tacuma: The first thing I saw was
American Bandstand. My aunt used to have parties on
the weekends. Sometimes I’d look at Dick Clark’s
American bandstand and I see all the groups from thelate ‘50s and early ‘60s. Then I’d listen to radio WDAS
FM in Philly that would play a lot of the R&B and soul of
the time. There was a theater called Uptown Theatre,
which was like the Apollo. There were groups that hadrecords out at the time and would do “around the world”
tours of the major venues of the day. There’d be 8 groups
on the bill who would spend 10 days at these venues.
TNYCJR: Was there a crystallizing moment where you
thought I wanted to do this?
JT: Yes. There was a bass player with Willie and The
Mighty Magnificents. They were the backup band for
The Moments based in New Jersey. Sylvia Robinson
had Stang Records. Willie and The Mighty Magnificentswas the backup studio band. The moment for me waswhen Val Burke started doing a bass solo. They wereplaying “Higher” by Sly & The Family Stone. He took
his hands off the neck and started blowing them likethey were on fire. It was a bit of showmanship. He wasa great player and we’re friends to this day. Those were
the things that got me hearing music in terms ofgroove, funk and soul.
At the same time, there was a moment of change.
With Jimi Hendrix, the Black community became very
mod and psychedelic. We were wearing bell-bottoms,
platform shoes and tailored jackets with wide lapels.
Groups like Parliament with George Clinton,
Sly & The Family Stone, Eric Burdon and War, Rufus,
Chaka Khan, Mandrill, Chicago, Blood Sweat & Tears,
Cold Blood, were moving from R&B Soul into R&B
Soul-Rock. I was listening to all of that.
And then I got turned onto jazz. There was afusion of jazz with Mahavishnu Orchestra, Chick
Corea, Herbie Hancock and The Headhunters. It wasvery important for me to become familiar with them.
Pat Martino and Catalyst were teachers for me in The
Model Cities program in Philly who were fusing jazzand rock. I was listening to some of the ECM stuff from
Europe, avant garde sounds with Anthony Braxton
and his group Circle. I didn’t know about Ornette
Coleman until I was in the high school library and saw
a photo of him playing violin in DownBeat magazine.
When I got out of high school, I started playing
with Charles Earland, who played organ in the
tradition of Jimmy Smith and Jack McDuff. He was in
the forefront of that and wanted to add a bass guitar
because everybody was doing it. I’d been accepted into
Berklee College of Music, but one of the members of
his group suggested I go on the road with him, so I did,instead of going to Berklee. I wanted to be a musician
that toured and played on the road. But after one show
he called me and said, “I’m not gonna be able to use
you anymore.” He said my timing was off. I deduced
that as the organ player, he’d always played the bass
parts with his left hand. When you play bass guitar,
there can be a lag in the groove. I think he wasn’t used
to having real bass. Also, when I came on stage I’dwear white shoes, a gold guitar strap, play bass solos
and the crowd would go crazy. I think he didn’t likebeing upstaged. But that wasn’t my intention; that’s
just my style. Their concept was that if you’re ayoungin, you had to pay dues.
I came home and got a call from [guitarist]
Reggie Lucas and [percussionist] James Mtume, whowere both with the Miles Davis Band at the time. Theysuggested I play with Ornette Coleman. I came to New
York, auditioned for him. He loved the way
I played and saw I could adapt to his concept of playing
music. He opened my head up for music. I learned that
not only could you play from a groove standpoint, butalso compositionally and as a soloist. At that time you
had guys like Stanley Clarke and Jaco Pastorius moving
the bass into that solo concept, which is actually notnew. If you listen to the early Monk Montgomery[brother of Wes] records, he was the first person
credited to playing electric bass in 1951. He was thefirst person given an electric bass by Leo Fender. That’smonumental. By 1973-74, bass players wanted to stepout more. So it was the right time for me to be in
Ornette Coleman’s band. It was about compositional
improvisation and was a big influence for me as amusician and my style that I have today.
TNYCJR: Coleman was in a different phase then, right?
JT: Yeah, but it’s always been about the beat. Bands
that played back in the day were considered dancebands. Duke Ellington, Count Basie, Glenn Miller,
Tommy Dorsey were all dance bands. The beatchanges throughout the years, which is the natural
progression sonically.

6 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORDHJANUARY 10TH - JANUARY 15THH

FRED HERSCH &ESPERANZA SPALDINGHJANUARY 17TH - JANUARY 22NDH

DAVID
MURRAY QUARTETMARTA SANCHEZ - LUKE STEWART - KASSA OVERALLHJANUARY 24TH - JANUARY 29THH

BRADDAYNA
MEHLDAUQUINTETSTEPHENS - JOSH EVANSCHRISTIAN MCBRIDE - JOE FARNSWORTHHJANUARY 31ST - FEBRUARY 5THHJON COWHERDMERCY PROJECTCHRIS POTTER - STEVE CARDENAS
JOHN PATITUCCI - BRIAN BLADE

COMING IN FEBRUARY
HWALTER SMITH IIIH
HVANGUARD JAZZ ORCHESTRAHHJOEL ROSSH
HJOE LOVANO & DAVE DOUGLASHPETER GANNUSHKIN/DOWNTOWNMUSIC.NET

ARTIST FEATU RE

CORY
SMYTHE

Recommended Listening:• Anthony Braxton–Composition 30(New Braxton House, 2011)• Cory Smythe/Peter Evans–
Weatherbird (More Is More, 2015)• Tyshawn Sorey–Verisimilitude (Pi, 2016)• Stephan Crump/Ingrid Laubrock/Cory Smythe–
Channels (Intakt, 2017)• Christian Lillinger ’s Open Form For Society–Live (Plaist, 2019)• Cory Smythe–Smoke Gets In Your Eyes
(Pyroclastic, 2021)

by john sharpeIn

conversation pianist Cory Smythe can bedisarmingly self deprecating for one so talented, but
perhaps that modesty is all of a piece with someone
who is such a sensitive interpreter, generous
collaborator and fearless explorer. Certainly he isunconstrained by genre and sonic boundaries. While tojazz audiences he may well be best known for his workwith drummer/composer Tyshawn Sorey and aco-operative trio with saxophonist Ingrid Laubrockand bassist Stephan Crump, he is also a longtime
member of the International Contemporary Ensemble,
hailed as America’s foremost new-music group by
The New Yorker, as well as a chamber music Grammywinner for his accompaniment on In 27 Pieces - The
Hilary Hahn Encores, by the titular violin star.
Although Smythe pursued a classical musiceducation, he also played jazz piano and saxophone.
His eventual path was a close-run thing. His sliding
doors moment came at 17. “I applied to at least one
program as a jazz piano major. I was having a hardtime trying to decide between those two. Ultimately
one of the schools that I got into was Indiana University
as a classical major, but I knew it had a really storiedjazz department. I thought I could find a way to be
involved in that somehow. But classical piano playing
is really hard,” he laughed, “so it ended up being a bit
more all-consuming than I’d intended.”
A pivotal moment came in 2004 just after startingwith the International Contemporary Ensemble, when
he went to see a duet concert between Sorey andsaxophonist Steve Lehman. Astonished by Sorey’s
approach to piano as well as drums, Smythe went to
say hello after the show. “I was pretty shy and probably
would not have found it possible to interact with eitherof them if it weren’t for the fact that I was so enthralledby the piano playing that it just seemed like an obvious
point of entry to ask if I could get a lesson with him.
We ended up meeting up and mostly introducing
ourselves and some of the music we’d been writing,
things we were interested in and found a lot of common
ground. He started to put me in some of his projects
after that, which was a huge turning point in myexistence to get to work with him.” It heralded the
beginning of a productive period for Smythe, who has
subsequently worked with saxophonist Anthony
Braxton, trumpeters Peter Evans and Nate Wooley andothers at the cutting edge of the NYC scene.
But he has simultaneously forged his own path.
“The music I’ve been wanting to make, it’s not sotethered to this pixilated set of tones that the piano
provides. I’ve been wanting to see if I can get the piano
to do something more like Okkyung Lee gets the celloto do, where these sounds are just on a continuum andone can morph into the other.” Initially on 2016’s
Autotrophs, which features Lehman on two tracks, thatmorphing involved playing along with prerecorded
tapes, which supplied additional content. But since a
project with Craig Taborn and the International
Contemporary Ensemble in 2015, he has been working

on using live electronics to supplement the piano.
Smythe continues: “I’d been working with transducer
speakers and a way where I would put them on thesoundboard and using the piano as a sort of amplifier
for the electronics. With Craig we had the idea that we
could use those speakers to amplify an electronic
keyboard that was playing a quarter-tone removed
from the rest of the instrument. That’s where that basic
idea was born and I’ve been trying to refine it sonicallyso it sounds more plausibly like there’s just something
up with this piano, but no electronics involved. And
trying to refine my capacity to play this extended
instrument and play coherently in some compelling
way and improvise at it. Over the pandemic especiallyI’ve been adding to that set up and give myself a wayof making it seem as if the keys I’ve just played are
ringing out and that ringing string starts to behave inways that the piano can’t actually behave. They
crescendo again or they start to slide around thedifferent pitches. Pretty basic stuff that most other
instruments can do but the piano cannot.”How successful Smythe has been can be heard on
the sequence of seven otherworldly solo cuts making
up part of his latest album, his third on fellow pianist
Kris Davis’ Pyroclastic imprint, Smoke Gets In Your
Eyes. Smythe pairs these pieces, each imbued witha gelatinous, liquid, burbling quality, with the four
remarkable ensemble pieces originally commissionedby the Norwegian Trondheim Jazz Orchestra and firstpresented in concert in September 2019. Distance andeconomics meant that for the album, apart fromoriginal vocalist Sofia Jernberg, he substituted an
allstar cast of New York talent, including Laubrock,Evans and cellist Tomeka Reid, among others. In
one way his orchestral writing translates his solo piano
aspirations into larger form. Smythe explains: “I wasinterested to try to get to a more fluidic sonic language.
It might be less about there’s a chord, there’s a melody,a rhythmic grid. Those things might still exist but they
were bound up with these morphing, eliding, molten
sounds.”Smythe also brings an activist sensibility to his
work. Norway’s association with oil finds its sonicecho in the viscous, combustible qualities he is drawn
to and is further reflected in the packaging with its
images redolent of climate breakdown.
He also tips his hat to the tradition. “As I kept
going I realized there was maybe a connection here to‘Smoke Gets In Your Eyes’, which in its own way has a
fluidic text painting that portrays musically little
billowing rings of smoke. That has been important tome in my other projects of late, that there is a path forthis music to participate in a musical commentary,which becomes a political commentary, even if that’s
left seductively ambiguous.” v(YANIFor more information, visit corysmythe.com. Smythe is at
The Stone at The New School Jan. 11th and The Jazz Gallery
Jan. 18th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 7

ON THE COVER
JIMMY & DENA KATZ / COURTESY OF SMOKE SESSIONSAL FOSTER
REFLECTIONS
by russ musto“Really, I’m surprised at what’s happened with mycareer... All of it is a shock to me, you know playing withso many great musicians that I learned from,” Al Foster
says, reflecting on his decades long role as one of the top
drummers in jazz. “I was born in 1943, so it was basicallythe Swing Era. My mother said that when I was born inRichmond, Virginia at that time Benny Goodman was
famous and he had a record out, “Sing, Sing, Sing”, with
Gene Krupa on drums, so she thinks that maybe why I
got interested in the drums. When I was two or three I
used to bang on the pots and pans in the kitchen. And a
few years later my grandfather’s sister bought me apractice pad and a pair of sticks and when I was 10 myfather bought me a set of Gretsch drums for Christmas.
I played them for maybe five or six months and then I
put them in the closet for quite a few years. I was 12 or
13 when I heard “Cherokee” by Max Roach and Clifford
Brown and that made me get very serious. So I started
practicing, so I could sound like Max Roach.”
As a teenager Foster was already playing houseparty gigs with older musicians. When he was 17 hegot a call to go out on the road with Illinois Jacquet,but his father didn’t want him to leave town. A year
later, Jacquet called again and he started working withthe tenor saxophonist: “I played with quite a few of theold timers. I played with Erskine Hawkins. I played
many gigs with him. I played with Roy Eldridge for
two weeks in New York.” He was also working withyounger modernists. “I used to play Monday nights
with [trumpeter] Ted Curson. Kenny Barron was on
piano and his brother Bill Barron was on tenor,” heremembers. “We played the original Birdland on 52nd
Street on Monday nights.” Pianist Barron recalls, “Billand Ted had some interesting music. I loved Al’s
playing. He is one of my favorite drummers.”
After playing Mondays, Curson landed a week atthe club opposite Horace Silver. Foster remembers one
fateful night on the gig. “It was the last week for
Horace’s band with Blue Mitchell, Junior Cook, Gene
Taylor and Roy Brooks. He was getting a new bandwith Joe Henderson and that crew. We played the first
set and Roy was setting his drums up next to mine andstarted rolling on his bass drum with his foot standing
up. So he was losing it. We finished our set and Horace
went on and Horace is soloing and on his solo Roy
Brooks takes a drum solo and Horace just stopped. So
after Roy’s solo Horace asked me to come up and playwith the group. And I got through half of the tune and
Roy Brooks comes up and he has got his left arm
around my neck and he has got a cigarette in his righthand in front of my face and he is yelling, “Let me play,
let me play!” I got the hell up so fast. When I playedwith Horace I looked over and saw Gene Taylor andsaw him motioning over to Blue Mitchell with his hand
like signaling we’re going to hire this drummer,
because they were going out on their own after thatweek, the Blue Mitchell group... So it was really a
blessing. I mean it was nerve-wracking, but...”
The drummer made his recording debut on
Mitchell’s The Thing To Do (Blue Note, 1964) and would
remain with the trumpeter ’s band for more than two

years, making another pair of records. “We played at
Minton’s quite a bit for a week or six nights at a time,”
he says. Foster confesses that up until that point his
style was more or less an amalgamation of things he’dpicked up watching and listening to all the greats heencountered there and at Birdland, especially on thelegendary Gretsch Drum Nights at the latter. “My love
was Max Roach and then Philly Joe with Miles. And
Art Taylor, I loved Art Taylor ’s feeling, he is like anextension of Art Blakey. I’d seen Blakey many times at
the Apollo Theatre. And I got to know all those people.”He was also impressed with the new crop of drummers
coming to the city: “When Tony Williams came to New
York he was so young and he had his own style. And
then Joe Chambers came to New York and he alreadyhad his own identity. And then a few years later Jack
DeJohnette comes along and completely his own man
with his own style. So I said to God—I was raised a
Catholic—What about me? I’m copying Max Roachand Art Taylor with some Philly in there. I wanted myown sound. I just wanted to be me, like everybody
else. And it took me a long time I think when Miles
came back in ’80-82, it started happening then.”Recommended by his friend, pianist Larry Willis,
Foster had been working a six night a week five-year
stretch with trombonist Kai Winding at the Playboy Club
leading up to his initial call to play with Davis. “Let metell you about the first time I went into the studio withMiles,” he declares. “Billy Hart was on drums and he
was reading and Herbie was there along with a wholebunch of name people. I was so nervous. I was setting up
my drums and Miles walks over and gives me a chartand I took it of course, but I’m thinking how can I tell
him I don’t read music. So I’m taking my time setting up
the drums and he came back over and I told him, ‘Miles,
I don’t read music.’ And he said (imitating Miles’ raspy
voice) ‘Okay, I’ll tell you what to play.’ He took the musicout of my hand and when I finished setting up the drums
he was standing over me and whispering in my left ear
these licks, but I couldn’t understand him so I just kept abackbeat, man, I couldn’t figure out what he was asking
me to play. It was just one tune and I was so nervous
after that that I just packed up and split. I didn’t speak to
nobody. I split! Then three months later Miles called. I
didn’t think I’d ever hear from him again. And I told himthat and he said, what are you talking about, you soundgreat. And that was it... I was with Miles for that wholetime in the ‘70s. Michael Henderson was on electric bass.
The first tenor player he had was Carlos Garnett. Maybe
that lasted six months. Then he got Dave Liebman andthat was his steady band. At that time Miles was playing
keyboards and trumpet. And Miles knew I wasn’t intothat kind of music. I walked off the stage quite a few
times, knowing I could get fired. It wasn’t what I reallywanted to do.” Foster remained with Davis up until the
trumpeter’s initial retirement in the mid ‘70s, even as themusic became increasingly electrified.
His profile raised markedly as a result of Davis,
Foster became one of the most called upon sidemen injazz, recording dozens of albums with a diverse groupof artists. He was part of the Milestone Jazzstars

8 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

alongside Sonny Rollins, McCoy Tyner and Ron Carter,
each of whom he would also work with individually.
Rollins would be another of Foster ’s regular jobs.
He first performed with the tenor titan back in 1969 at
the Village Vanguard but the gig only lasted two nights
before Rollins decided to try out a different drummer.
Rollins was one of Foster ’s early idols, so he wasunderstandably crestfallen. He remembers, “I heard
Sonny on a Max Roach album and fell in love with his
playing. You know he played almost like a drummer,
but a melodic drummer. He was really incredible. He
was my main man.” Nine years later the pair would bereunited. Foster declares, “In ‘78 Sonny called me andwith no rehearsal or nothing he wanted me to fly toEurope to play with him and that went on for years.
Even in the ‘90s and early ‘00s I was playing off and on
with Sonny. The last time I played for him was in 2015.
He couldn’t play at that time. It was a tribute to him at
the Apollo. Sonny and I are pretty close.”
The other tenor player with whom Foster had aclose relationship was Henderson. “I recorded with Joein ‘85 at the Vanguard. We did two albums [The State Of
The Tenor Vol. 1 and Vol. 2] and a few gigs in between.
I actually joined his band I think it was in ‘85 or ‘86. We
went to Europe, quite a bit, All over actually. That waslots of fun, with either Charlie Haden or Dave Holland
on bass.” By this point Foster was finally satisfied withhis playing. “I think I just grew as I got older.
I definitely was practicing a lot trying to find myself,
Al Foster, instead of all the people I was in love with.”
Foster says practice is still part of his regular routine.
“Almost everyday I find something. When I sit downat the drums I don’t look at them I just sit down and in
my brain I say, ‘Okay what can you show me today?’And I just start with my left hand or my right hand
and, not all the time, but a lot of times I’ll say, ‘Oh shit,
what was that?’ And I’ll start working on it.”
Foster’s recent Smoke Sessions disc Reflections
reunites him with tenor saxophonist Chris Potter andpianist Kevin Hays while trumpeter Nicholas Payton
and bassist Vicente Archer were with the drummer for
the first time. “It was a beautiful day. I couldn’t believe
it. No rehearsal, I didn’t even know the songs we weregoing to play except for my three tunes. It was so good I
said, Damn!” Looking back, the soon-to-be-octogenarian
reminisces, “I’ve been very fortunate and I thank God
for that because it didn’t have to be. I wanted to be goodand I played with so many giants from the Swing Era tobebop and hardbop and that’s a blessing.” v
Foster’s 80th birthday celebration is at Smoke Jan.
19th-22nd. See Calendar.
Recommended Listening:• Blue Mitchell–The Thing to Do (Blue Note, 1964)• Miles Davis–Dark Magus (CBS/Sony, 1974)• Miles Davis–We Want Miles (CBS/Sony, 1981)• Joe Henderson–The State of The Tenor (Live at theVillage Vanguard) (Blue Note, 1985)• McCoy Tyner–Trio Live in Gdynia (AC, 2000)• Al Foster–Reflections (Smoke Sessions, 2022)

AKAMU.NET

ENCORE

EGBERTOGISMONTI
by george grella
Egberto Gismonti is, in the best sense, the quintessential

postmodernmusician.
His
personal
artistic
development and his deep and broad discography on
ECM bring together multiple stories: the autodidactic
guitar player and instrument builder; the improviser
and jazz musician; the nationalist folk/pop musicstylist; the student of the great avatar of modernist
classical composition, Nadia Boulanger.
None of this is fragmented in Gismonti’s musicmaking. Instead, it comes together in an unmistakableartistic voice. Whether he is playing and leading an
ensemble from the guitar or piano or writing music to
be played by others (for an orchestra, a film score, etc.),
his sound makes the richest possible use out of simple
elements—his duo albums with late compatriot
percussionist Nana Vasconcelos are master classes inthis—or instrumentation, his melodic invention has
the roots of his native Brazil and his harmonic rhythm
is graceful, dancing and subtly sophisticated. Hismusic is organic and logical. It surprises in the moment
and comes to satisfying resolutions.
While not known as a strict modern jazz man,per se, Gismonti, born in 1947 in Carmo, State of Rio deJaneiro, Brazil, hit the scene in 1975 working withnotable jazz and jazz-adjacent musicians like Paul
Horn, Airto Moreira, Teo Macero and Herbie Hancock,working with ensembles that have the familiar form ofa modern jazz group. There is a tribute to him going on
at Dizzy’s Club this month with Gaia Wilmer leadinga big-band type ensemble through Gismonti’s
catalogue, but big-band Gismonti turns out to be lesssurprising than one may expect. As the musician
himself explained via a recent email exchange, theproject is rooted in his native Brazil.
“Tina Pereira was the musical director of thisproject,” the Pro Arte Sopros Orchestra, a training andperformance project that starts off young musicians onrecorders and then expands their skills and repertoire
into other wind instruments. The ensemble is filled out

with guitar, bass, drums and percussion while Pereira,
who died suddenly in 2008, was herself a flute player
and taught at the Villa-Lobos Music School, among
other institutions.
“Every year she prepared the orchestra to honora Brazilian composer. In 2008 she chose my music to
be honored. We worked a lot together and I was able
to get to know the musicians more, including Gaia,”
who was part of the ensemble. Wilmer is a saxophonist,composer and arranger with a recent album on
Sunnyside, Folia: The Music of Egberto Gismonti, andwho has previously been lauded for her arrangementswith her Large Ensemble. Gismonti expands on theirfirst collaboration and how it led to this new event:“During this process, at Gaia’s request, I made anarrangement for the group that Gaia coordinated inparallel with the orchestra. We got very close andI discovered Gaia, the musician, and her dream for
Brazilian music. Time passed and I received years later
emails from her explaining that she was [organizing] atribute to my music with the formation of a jazz bandwith piano, bass, drums and percussion.
“The first time I listened to her complete the projectI agreed to participate in performances on the tour she
would do in Brazil.” Gismonti adds, intriguingly, that
there is a possible live album coming out of that tour.
“Several steps were taken and we almost finishedtogether the production of the mix of the tour album,
which ended up being done in the studio.” He could
not finish the work, but “can only wish for success fora singular, moving and inspiring CD. So the CD is
Gaia’s project.”
He adds that Wilmer ’s work as an arranger is“very good musically, in addition to containing awonderful mood.” About mood, he says of Brazilian
musicians in general: “We like music, arrangements,
voices, instruments and the freedom to express
ourselves in the ways that any contradiction requires.”
In a sense then, contradiction is at the core ofGismonti’s music. It comes from both the streets andthe academies. “When I think I could record with
Xingu Indians and Yo-Yo Ma,” he says, “that I could
make dance music with Joachim Ulrich, from the
Cologne Opera, that I could make music for directors—
and I want to say that I have the immense joy to haveplayed with so many musicians in the world andexchanged so many experiences, making folk music in
the interior of northeastern Brazil to orchestras,
symphonic bands and chamber groups around theworld.”
His first albums were not on ECM, but thatcatalogue represents quite a bit of this and more. His
1976 album with Vasconcelos, Dança das Cabeças, wasan award winner, which he says is about “two‘curumins’ (young Indian boys), who enter the Amazon
forest and discover that dry and humid, hot and cold,large and small, insects and animals, fruits and flowers,
vegetables, etc., coexist individually to work for theforest survival.” That gets at the uncanny organic
nature of his music, where every sound andinstrumental part sounds like the whole of a form thatgrows and flows, rather than looks for a song-likestructure or a logical double-bar at the end.
The sense of the earth and his country is at theforefront of a lot of his thinking. Of Música deSobrevivência (ECM, 1993), he says, “The arrival of thePortuguese on the Brazilian coast and the discovery
that there were animals, food, fruits, peoples,
territories, forests, rivers with widths measured inkilometers, birds of all sizes and colors, etc., createda new reference point for new dreams of conquest.
After more than 500 years Brazil follows the country ofBrazilians—the country of miscegenation—in very richmusic, literature, religions, food, beliefs, mixture ofraces, peoples, languages.”
The story is not simple, nor even pleasant, but
Gismonti sees how, today, it can “give us ascompensation to the unsuccessful attempts to rule withextreme destruction, with good humor, the joy ofliving, dance, carnival.
“I like to know that my music has reached so manymusicians and singers in countries around the world.
Is there a better gift than this one?” v

touring with him into 1951. Thielemans moved to the
U.S. in 1952 and became a citizen in 1957. Clarinetist
Tony Scott’s introduction to blind British pianist
George Shearing backstage at Carnegie Hall led to an
impromptu duet of “Body and Soul” since Thielemans
had his harmonica with him. Thielemans joined theGeorge Shearing Quintet in 1953 and worked with the
pianist until the group disbanded in 1959, though he
was primarily a guitarist with only a feature or two on
harmonica each night.
Thielemans made his debut recording in 1955 (TheAmazing Jean “Toots” Thielemans—The Sound,
Columbia) while also accepting growing invitations to
be a sideman and freelance soloist, including in many
genres of music, film soundtracks and television. In
addition to composing the widely recorded jazz waltz“Bluesette” and “Sesame Street Theme”, Thielemans is
also known for his whistling in the long-running Old
Spice television commercials.
His recording with Brazilian vocalist Elis Regina(Aquarela do Brasil, Philips, 1969) led to a lifelong love of
Brazilian music, which he included in his repertoire andexplored with Brazilian musicians in two volumes of
The Brasil Project Vols. 1 & II (Private Music, 1992-93).

A perennial poll winner on harmonica, Thielemans
was a recognized virtuoso who recorded with fellow
masters like Bill Evans, Dizzy Gillespie, Ella Fitzgerald,
Oscar Peterson and Sarah Vaughan. Fittingly, he washonored as an NEA Jazz Master in 2009. A stroke in1981 made playing guitar more challenging, though hecontinued to play it into the next decade. Thielemans
retired from performing in March 2014 and passed
away in Belgium on Aug. 22nd, 2016 at 94.
Thielemans left lasting memories for the musicians
who played with him. Bassist Marc Johnson firstworked with him on the Evans album Affinity (Warner
Bros., 1978), which was Johnson’s initial studiorecording with Evans. As he recalled: “To see Bill
Evans and Toots interact during the recording sessions
was very inspiring. Toots brought tunes like
Phil Markowitz’ ‘Sno’ Peas’, Paul Simon’s ‘I Do ItFor Your Love’ and an arrangement of ‘Days of Wineand Roses’ that modulated between two keys.
Toots was like this teddy bear of a human being, justvery sweet and gentle. Toots embodied that spirit oflove for music and people, that came across in every
concert we performed.”		

For more information, visit akamu.net/gismonti.htm.
A tribute to Gismonti led by Gaia Wilmer is at Dizzy’s Club
Jan. 13th. See Calendar.
Recommended Listening:• Egberto Gismonti–Orfeo Novo (MPS, 1970)• Egberto Gismonti/Nana Vasconcelos–
Dança Das Cabeças (ECM, 1976)• Egberto Gismonti–Sol do Meio Dia (ECM, 1977)• Egberto Gismonti–Solo (ECM, 1978)• Jan Garbarek/Charlie Haden/Egberto Gismonti–
Magico: Carta De Amor Magic (ECM, 1981)• Charlie Haden/Egberto Gismonti–
In Montréal (ECM, 1989)

LEST WE FORGETTOOTSTHIELEMANS
by ken dryden
J ean-Baptiste “Toots” Thielemans was a jazz legend

known for his virtuoso harmonica and whistling skills,
in addition to being a guitarist. The Belgian initiallyplayed accordion when he was three, then bought a
harmonica, as he admired the then-popular Larry
Adler. Ignoring the advice of local musicians to “throwthat toy away,” Thielemans kept playing, but boughta guitar after Django Reinhardt’s records inspired him.
Initially active in Europe after World War II, Thielemans
met Charlie Parker in Paris in 1950 and later jammedwith him in Stockholm. After Benny Goodman heard
Thielemans’ record of “Stardust”, he hired him for aEuropean tour in 1950 for a septet (heard on the CD
Benny Goodman: Lausanne 1950, TCB) and continued

10 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD					(CONTINUED ON PAGE 13)

L ABEL SPOTLIGHT

LE
COQ
by jim motavalli
In its first heyday, Blue Note Records had whatamounted to a repertory company, with players like
Herbie Hancock, Freddie Hubbard and Paul Chambers
appearing as sidemen on dozens of albums, when they
weren’t making their own.
California-based Le Coq Records has followed asimilar approach over the 14 or so albums it has
released. Co-founders Piero James Pata and Andy
James moved to the U.S. from Madrid, Spain in 2014.
Singer James was then working as a world-classflamenco dancer. First in Australia and then in Spain,
James appeared with some of the great flamenco
performers, including Antonio Canales, Rafael Amargo
and Paco de Lucía. “Flamenco is based on feelingcomplex offbeat and synchronized rhythms and I thinkthat prepared me for singing jazz melodies,” James
opines. “I sang as a child, but I went back and forth
between singing and dance. Both my parents werealways encouraging. My mother was a jazz singer, sothat was close to her heart.”
Pata, who is also a dancer and musician as well asa producer and who speaks three languages and holds
both Australian and Italian passports, as well as an
American Green Card, says, “We needed an avenue toget out all the music we were recording and to record
all the musicians we were working with, people likepianist Jon Cowherd and bassist John Patitucci. Le Coq
is a boutique jazz label and we release what we call

Pride and Joy
Jon Cowherd

Gifts
Alex Acuña

honest music, maybe a little from the older world.”
The label’s official launch was in 2021, but the first
informal release in 2019. Bebop is never far away andJames—on many of the Le Coq albums—brings in acabaret element as well.
Good sellers for Le Coq are the two volumes of
Jazz All-Stars records, featuring an impressive cast. In
addition to James, Cowherd and Patitucci, the albums
feature Terell Stafford (trumpet), Chris Potter andRick Margitza (saxophones), John Beasley and Bill
Cunliffe (piano), Vinnie Colaiuta and Marvin “Smitty”
Smith (drums), Alex Acuña (percussion) and Russell
Malone (guitar), among others. The sound is
progressive bop and very well recorded. “We like towork with people who won’t waste our time. Not thehotshots, who aren’t good readers and only want to besoloists,” Pata said. That said, the label is definitely
looking for new artists.
An Evening with John Patitucci and Andy James is
not a duo record as the title implies—Cowherd,
Stafford, Margitza, Potter and Beasley are also on
board. It swings, but with that strong cabaret element.
Cowherd’s recent straightahead trio release, Pride andJoy, another good seller, features Patitucci anddrummer Brian Blade. Patitucci, who spent some years
in Southern California between 1978 and 1996, confirms
the repertory nature of the Le Coq label. “Working
with Piero Pata and a host of old and dear friends has
been like a family reunion in many ways. Piero andAndy have a daring vision and the organizational
skills to make it all happen for their new record label.”
Colaiuta adds, “Having the chance to create with theseamazing musicians is always special, and when there’s
already camaraderie, it’s even better. The beauty of it is

An Evening WithJohn Patitucci/Andy James

Piero’s sense of allowing the musicians’ personalities
to speak freely and really express their muse withcomplete carte blanche.”Coming up is an Andy James Big Band record,with half the tracks featuring strings. “COVID
interrupted that album, but in the end we recorded 26
tracks,” said Pata.
Santiago Interiano, a 10-year music industry
veteran, is Le Coq’s Creative Director, brought onboard in 2019 to handle video, photography and public
relations. “I got Le Coq connected to a digital
distribution company that’s a subsidiary of Universal
Music,” Interiano said. “They hadn’t worked with jazz
before, but they were really interested. We had beenworking with CD Baby. Now we’re self-sufficient,pitching to playlists and getting the music into all theplatforms.” Publicity company DL Media and its
president, Don Lucoff, help get the word out.
The label might press 300 to 400 physical CDs
initially, reordering them as necessary. But downloads
are its biggest market. “We did vinyl, but the company
burned down,” Pata laughs. Japan is a strong market
for Le Coq and Europe is the second strongest. It is
hard to get the All-Stars together, but they do manage
to play live. Recently out are albums by Acuña (Gifts),
Cowherd (Pride and Joy) and James (Rhythm in NewYork). The label has more than a dozen albums recorded
and perhaps seven or eight will be released in the next
few years. “You can’t release everything,” Interiano
said. “But we’d love to get it all out quickly.” v
For more information, visit lecoqrecords.com. Artists
performing this month include Cowherd and Patitucci at
Village Vanguard Jan. 31st-Feb. 5th. See Calendar.

Sacred Hearts
Rick Margitza

The Jazz All Stars Vol. 1
The Le Coq All Stars

VOXNEWS

Aby suzanne
WISHlorge
In 2018 pianist Fred Hersch invited bassist/singer

Esperanza Spalding to perform with him at the Village
Vanguard as part of his annual birthday gig there.
Hersch had the foresight to record these stunning sets
and Palmetto Records has released Alive at the Village
Vanguard capturing the peak moments of the duo. The
album’s big reveal: Spalding, as a standards singer sansbass, is riveting. Not just for her gifted spontaneity on
time-honored melodies (“But Not For Me” and “SomeOther Time”) but for her clever stage patter. She isawfully funny, for instance, on “Girl Talk”, when she
riffs about false eyelashes at RiteAid (“you can reuse
them joints!”), even as she makes clear that her humor
is anything but idle (“you think we’re talking about one
thing…but we’re practicing a theory of economic
sustainability”). She moves in and out of speaking andvocalizing, stepping aside for Hersch’s impromptu
musical commentary on the matters at hand. But be
prepared to keep up: the ideas fly thick and fast. Just
listen to Egberto Gismonti’s “Loro” as she remaps theoriginal’s simple Brazilian lines in a peripatetic scatsolo. The recording closes with an easeful rendition of
Hersch’s “A Wish”; counter-intuitively, Spalding’s

relaxed delivery gives Norma Winstone’s bittersweet
lyrics extra weight. Hersch and Spalding celebrate thealbum at Village Vanguard (Jan. 10th-15th).
Pianist/singer Ann Hampton Callaway honors
singer/songwriter Peggy Lee with Fever: A Peggy Lee
Celebration!, also on Palmetto, and set to launch in
February. She developed the material for the album—
14 songs Lee either wrote or popularized—for a show
at 54 Below commemorating Lee’s 2020 centennial. The
album contains some of Lee’s hits, like “Fever”, “The
Folks Who Live On The Hill” and “Black Coffee”, noneof which Lee wrote, but also highlights her contributions
to standards like “I Don’t Know Enough About You”
(composer/lyricist), “I Love Being Here with You” and“Johnny Guitar” (lyricist). Like Lee, Callaway made hername as a Songbook interpreter who writes tunes that
fit neatly into the canon. For this project, she penned
music to one of Lee’s unfinished poems—“Claire deLune”, a heart-tugging ballad (Callaway’s bailiwick)only hinting at the Debussy classic. Callaway will
preview the new record at 54 Below (Jan. 15th), just aweek before the anniversary of Lee’s death in 2002.
The Royal Bopsters—singers Amy London, Jeanne
O’Connor, Pete McGuinness and Dylan Pramuk—celebrate 10 years of close jazz harmonies with thereissue of their 2015 debut The Royal Bopsters Project(Motéma Music). The redux pulls 11 tracks from theoriginal release, which featured vocal jazz pioneers Jon
Hendricks, Annie Ross, Bob Dorough, Mark Murphy

and Sheila Jordan as guests. The album also premieres astandout bonus track: a bright a cappella arrangement of“Auld Lang Syne” (by Pramuk), dedicated to the group’s
late collaborators: Hendricks, Ross, Dorough, Murphy
and founding member Holli Ross, who passed in 2020.
The Royal Bopsters will appear as part of the APAP
conference at Swing 46 (Jan 14th). In other highlightsfrom the conference, APAP will feature Nicole Henry
and Allan Harris (Jan. 14th); Mafalda Minnozzi (Jan.
14th-15th); and Dara Tucker (Jan. 15th). And WinterJazzfest will host Sara Serpa (Jan. 13th); Sarah Elizabeth
Charles (Jan. 14th); and Samara Joy (Jan 16th).
A parting word: In my 16 years of contributing to
The New York City Jazz Record (né All About Jazz-NewYork), I’ve never written in the first person. Well, maybe
a royal we here and there. I’m breaking with convention
today to bid farewell to Andrey Henkin, my erstwhile
editor and to acknowledge his vision, generosity andhumor throughout these many years. He and Managing
Editor Laurence Donohue-Greene have always
championed an inclusive, respectful publication andjazz journalism is better for their efforts. When I joined
the paper in 2006, female jazz journalists were almost
unheard of. And most jazz journalists covered vocalists
only reluctantly, sometimes sneeringly. (To his credit,
Andrey shut that down right away.) Today, we get tohear a multitude of voices because of editors like
Andrey and Laurence. I thank you for your leadership,
Andrey, and wish you well. v

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 11

FESTIVAL REPORTAARON WINTERS / COURTESY OF THE BOP SHOP

BOP
SHOP
by robert iannapollo

Joe Fonda

40 years is a long time to do anything. Ask Tom Kohn,

proprietor of the Bop Shop. He began running the store
in Rochester, NY, in late 1982 in a small cubbyhole on
the third level of Village Gate, an abandoned warehouseturned into a shopping mall with all sorts of odd stores.
Within a year, he moved down to a much bigger spaceon the main floor and became one of the flagship storesof the space. Ten years after a move to its current
location in 2012, Kohn and his partner Jann Nyffler
decided to book 40 shows during the year, culminating
in a four-day festival (Nov. 25th-28th, 2022) with someof the store’s favorite musicians from over the decades.
The first concerts started during Thanksgiving
week in 1988. The Pierre Dørge Quartet was looking fora place to perform between New York and Clevelandand his manager thought of the Bop Shop. Kohn
decided to book them, called his friends and invitedthem to come to the store for a free concert that Saturdaynight. Thus began the store as performance space. It
began slowly but by 1994 trumpeter Paul Smoker
moved to Rochester and found his way to the Bop Shop.
He came and wound up sitting in with Peter
Brötzmann’s trio for the entire set. Subsequently, hebegan bringing in various groups and sitting in withvarious bands that were booked. Kohn increased his
bookings to 6-10 shows per year. By 2000, it had risen to
about a dozen and a steady stream of U.S. and European
avant garde jazz musicians had a place to play in
upstate New York (along with Hallwall’s in Buffalo).
The first night of the 2022 festival was The Three
Shamans: drummer Phil Haynes, trumpeter Herb
Robertson who also played keyboards, clarinet andsundry other small instruments and bassist Ken Filiano,
also heard on electronics. All are known for theircomposition-based music and improvisational prowess
but this aggregation was something different. Playing
what Haynes called spontaneous composition andRobertson refers to as ritual music, they proceeded todeliver a set that defied expectation. While all havemade sounds like this, they had never focused on free
improvisation for a full set as a unit. These were players
on the same wavelength making group music out of‘nothingness’. The music was conversational and flowed
freely. Haynes kept up a subtle yet driving percussive
patter while Filiano insured an alien ambience,
especially when he delved into the electronic setup
attached to his bass. His arco work colored the musicwith moans and growls while his pizzicato provided
momentum for the others to navigate. Robertson’s
trumpet was usually dotted with mutes, bent notes andsmears and, speaking of alien, his keyboard work
frequently seemed to be paying homage to Sun Ra. It all
combined to take listeners to another plane.
Among the most popular bands to appear at the

Bop Shop in the past few years has been trombonist Joe
Fiedler’s Open Sesame. Fiedler’s ‘day gig’ since 2009 isMusic Director for Sesame Street. But he has other groups
to explore jazz including a trio and his brass quartet(three trombones and tuba) Big Sackbut, one of his best.
For years it seemed as if he avoided bringing Sesame
Street material into his more overt jazz projects. Butaround 2018 he figured out a way to do so without
short-changing both the original music and the jazz
impulse. It is clear Fiedler respects his predecessors,
especially original MDs Joe Raposo and Jerry Moss. In
his introductions, he gave background on the pieces andarranged them incorporating his own personality. He
has also changed the makeup of the band. This reviewer
has heard it in four different iterations: a quartet; a duetwith guitarist Pete McCann; and now, a quintet:
reedplayer Jeff Lederer, cornet player Kirk Knuffke,
electric bassist Chris Lightcap and drummer Michael
Sarin. It was a stellar band with all contributing
worthwhile solos to the over two-hour-long set. People
got to hear their favorite Sesame Street songs including“Rubber Duckie”, “Sing”, the theme and a personalfavorite “Pinball Number Countdown”. And for those
who may have been looking for material not associatedwith Sesame Street, in the middle of the set Fiedler gave
his band a rest and played a mini-solo set (promoting
his excellent, recently released solo album The Howland
Sessions). He also included introductions paying homage
to both Albert Mangelsdorff and Grachan Moncur III.
Now, a word about bassist Joe Fonda. He holds therecord for number of performances at the Bop Shop at
40, first appearing in the Fonda/Stevens Group back in2000 (former record holder was Paul Smoker at 28).
So he is well known to regulars at the store. Fonda wasto appear with his Bass of Operation quartet, comprisedof Lederer (reeds, flute, piccolo), Michael Rabinowitz(bassoon) and Harvey Sorgen (drums) but Rabinowitz
was ill and couldn’t make it so the band played as atrio. They decided to stick to the band’s book, stretching
it out, and what ensued turned out to be one of thehighlights of the weekend. All compositions were by
Fonda, who likes playing them with various groups
and rearranging them to suit the moment. The band
went through “Fast”, “Mosaic” and “Magic” (Fonda’s
homage to clarinetist Perry Robinson), all withmemorable themes driven by firm basslines (of course).
Lederer relished being in the moment, stretching out
on the material and playing his full range of reeds andflutes. Fonda and Sorgen have been a crack rhythm
section going back to the ‘90s. In the end they did anencore. Fonda looked at the band and said, “Shall we
do a standard?” The other two nodded and he called“All The Things You Are” and 15 minutes later, theevening ended on a resounding high, showing thatmagic can still happen when things go awry.
The last night brought guitarist Michael
Musillami’s trio with drummer George Schuller andbassist…you guessed it…Joe Fonda. This is a trio
together for 20 years and eight albums. On recordings,
Musillami sometimes augments the trio with otherplayers but the best way to hear them live is as a loose,
exploratory ensemble, which is the way they were
heard throughout their 90+ minute set, previewing
pieces from their forthcoming album, Block Party. It iseasy to see why these three have stayed together as aunit for so long. Musillami’s compositions leave
passages within for bass and drums, such as “Little
Ruby’s Steps”, with a lengthy arco bass interlude. The
pieces have lengthy, tricky themes to keep themchallenged but, on this night, they were dissected at
length. They also performed a new piece, “Bop ShopTom”, to celebrate the event, the store and its owner.
The celebration paid well-deserved homage to thepast 40 years with stellar, creative music as well as
good vibes. 40 years is a long time. Hopefully it will go
on for a few more. v
For more information, visit bopshop.com

12 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

(INTERVIEW CONTINUED FROM PAGE 6)
JT: The other day I was looking at a documentary on
Howlin’ Wolf and watching the guitarist Hubert
Sumlin. To come up with those catchy riffs…some ofthat stuff was really funky.
It goes back to simplicity, a way of expressing what
I experienced in my life as a Black man and being able
to express that through music. I lived in an urban
setting in northern Philadelphia. We’d go to parties
where they were listening to James Brown. There were
gangs who were trying to create positive social clubs.
It was a total experience. So when I think of funk,
I immediately start thinking of Parliament Funkadelicor Graham Central Station. That’s nitty gritty, the real
stuff. My definition of funk and groove is those organic
things that come from experience that one is able toexpress through music. And the simplicity, elegance,finesse of the groove that makes you move. It’s very
African at the same time. You can listen to that andhear the same elements. You can listen to the Gnawa
music from Morocco, which has a serious groove on
the gimbri, which is like the father of the bass sound.
It has three strings and is played with your knuckles,
which is pretty heavy.
TNYCJR: Can you tell me about the Outsiders
Improvised & Creative Music Festival?

look and sound. And David Bowie. Those guys not
only wanted to look and sound well. They knew they
had to come here to get that quality.

Recommended Listening:• Ornette Coleman–Of Human Feelings (Antilles, 1979)• Jamaaladeen Tacuma–Renaissance Man(Gramavision, 1983-4)• Jamaaladeen Tacuma–Dreamscape (DIW, 1995)• Derek Bailey/Jamaaladeen Tacuma/Calvin Weston–
Mirakle (Tzadik, 1999)• Jamaaladeen Tacuma–Coltrane Configurations(Jazzwerkstatt, 2008)• Jamaaladeen Tacuma/Mary Halvorson–
Strings & Things (Jam All Productions, 2014)

Japan in the summer of 1979, where the pianist wasplaying a two-month engagement with a trio andThielemans was on tour with Quincy Jones. Herschshared, “He came in to hear the music. I gave him mybusiness card and he came to hear me again in New
York about a year later and we simply started playing
together. It was all very natural and organic andI treasure our long association... Playing with Toots
was like playing with the world’s hippest singer. So
much emotion, an amazing gift for delivering a melody
and that signature sound. Harmonically, he was very
advanced yet never strayed too far from the rhythm
and emotion of the music. I was lucky enough to be onwhat I consider two of his greatest jazz albums. One
was live in Brussels with Marc Johnson and Joey Baron[Do Not Leave Me, Stash, 1986], when he brought an
American rhythm section to Belgium for the first time.
It was a huge night for him and it was well-documented.
I produced Only Trust Your Heart for Concord Jazz
[1988] and he let me choose the repertoire. I brought inpieces by Wayne Shorter, a couple of originals andsome songs that he had never recorded before. He
sounds completely amazing on this record. As he got
older, like many musicians, his repertoire shrank andhe was most comfortable with playing the 12 or 15
songs that he knew well. However, it’s not what you
play, it’s how you play it. And he was able to makeeverything sound fresh most of the time.”
Pianist Kenny Werner met Thielemans on thesession for Judy Niemack’s CD Straight Up (Free Lance,1992). He explained, “I did the arranging, he did histhing and he really liked me. In 1995, he called me to
sub for Fred Hersch at S.O.B.’s. I played that one night
and, for whatever reason, I was his pianist from thatpoint on. Playing with Toots was playing with someone
who was in love with music every time. He was
insecure before the gig, but it washed away. He was
too in love with the music and his instrument.” Werner
didn’t have to prepare to play with Thielemans,
recalling, “He played standards that everybody knew
and his originals, one of which [‘Bluesette’] was iconic.
The one CD we recorded as a duo was a live gig [Toots
Thielemans & Kenny Werner, Verve, 2001] that
documented where we had gotten to. For Thielemans
it was right in my wheelhouse that I wasn’t able to use
with anybody else, because nobody had that great
sense of melodies he had. I was involved in more avant
garde treatments of classic ideas. Thielemans broughtme back to my first love. It made me draw back into
the most beautiful thing that I loved about harmony,
which was Bill Evans and the linear representation of
those beautiful changes.”
Thielemans loved playing harmonica over thephone for interviewers, even taking requests. Werneragreed, commenting, “That was something he would
do at the drop of a hat, because he was led byinspiration. There are a lot of great musicians, but not
everybody is an entertainer. Being an entertainer
changes the music for the better. He was a comedian
who played music.” v(LEST WE FORGET CONTINUED FROM PAGE 10)

For more information, visit toots100.be. A tribute toThielemans led by Kenny Werner with Gregoire Maret is at
Dizzy’s Club Jan. 26th-29th. See Calendar.

Johnson would make additional recordings andtour with Thielemans, also recruiting him for his
acclaimed duo CD Two By Four (EmArcy, 1989). “Toots
covered some great repertoire that included jazz, pop
and Brazilian. He played guitar as well as harmonica
and he loved beautiful harmony and discovering new
ways of treating tunes. For instance, take a listen to
Toots’ version of Paul Simon’s ‘I Do it For Your Love’
from Affinity and compare it with Paul’s originalrecording. Toots was a consummate musician andcould travel easily between different genres of music,
so playing his book on the road was always fun.”Fred Hersch was introduced to Thielemans in

Recommended Listening:• Toots Thielemans–Man Bites Harmonica(Riverside-OJC, 1957-58)• Toots Thielemans–Images (Candid, 1974)• Toots Thielemans/Joe Pass/Niels-HenningØrsted-Pedersen–Live in the Netherlands (At The
Northsea Jazz Festival) (Pablo-OJC, 1980)• Toots Thielemans–Only Trust Your Heart(Concord, 1988)• Toots Thielemans–East Coast West Coast(Private Music, 1994)• Toots Thielemans/Kenny Werner–
Toots Thielemans & Kenny Werner (Verve, 2001)

TNYCJR: Is there anything you haven’t done that you
want to?
JT: Right now I’m thinking about a violinist named
Booker Rowe. He was the first African American
violinist to play in the Philadelphia Orchestra. He’s
still living. I’m thinking of writing a piece for bass,
violin and electronics about him. There’s an NPRinterview and he talked about the first day he went toplay with the orchestra. Somebody had written some
obscene, nasty thing on the wall, but that didn’t stophim. He came back the next day and everybody cheered
him on. It’d be interesting to do something with him.
Also Monk Montgomery, the first African American
to play electric bass guitar. He’s playing a 1951 Pbass,
which was later called a Tele bass.
TNYCJR: How do you want to be known in the worldof music?
JT: As one who was serious about his work and wanted
to give his absolute best to the listener and viewer and
one who wanted to bring a positive and spiritualelement to music.

JT: It’s geared towards highlighting musicians who
speak another language. They’re often not accepted.
So, we’ve set it up for musicians to come and becreative. We’ve done this since 2015. When COVID hit
we did it virtual, which was interesting because weconnected with other musicians around the world,which I couldn’t do in a normal live scenario. It’s beenoutstanding. The joy we see on people’s faces when webring them to Philadelphia makes it all worth it.

TNYCJR: How does your production company work?

TNYCJR: What continues to be inspiring?

JT: The Winter Jazzfest will be with Billy Martin the
drummer, Lee Odom the saxophonist, Brandon López,the upright acoustic bassist whose playing I love, andPaul Geiss on trumpet. This is at Superior Ingredientsin Brooklyn. I’m very excited about it. v

JT: There’s lots of things that are compartmentalized.
I enjoy producing records for myself and others. I’ve
produced all of my records, except one I did with Kay
Williams, Jr. He wrote some things with Daft Punk. He
was a good friend of mine who is no longer with us.
But I produce most of my records. I enjoy that. A lot oftimes artists need help. I needed help when I wascoming up and now I enjoy that, taking all the things
they want to do and making an edit of that. Manytimes producers make a record mainly from theirvision. I don’t do that. As an artist you have to think ofrecords you’ve heard that you like and think ofworking with that person.
TNYCJR: How about your workshops?
JT: I share what I know. There are those people who
really get it whether they’re musicians, family, record
companies, agents. It’s just a matter of somebody whoreally understands what you do. The difference is in
the details. The difference of how people step onstage
and the response they get from the audience.
TNYCJR: You’ve got a great style and a visual presence.
How important is your look?
JT: It’s something that’s like a monster that’s beencreated. I don’t know anything else but looking anddoing my best. It’s just a natural thing. I look at colors
and my enjoyment I have for them. The visual point
is just as important as the audio. It has to go together.
That’s what I saw growing up.
The Who and Pete Townshend had that visualquality. Or Elton John. In the ‘70s, there was a certain
vibe and taking pride in looking the best you could.
Elton came to Philadelphia to work with producer Tom
Bell and Sigma Sound Studios. He was going for the

JT: The label Jam All Productions handles all the
productions and records. For the most part we’re selfrun, which is really great. Before you had to depend onothers, but we can promote ourselves all day long.
TNYCJR: Can you tell me about the Winter Jazzfest
gig?

For more information, visit jamaaladeenmusic.com. Tacuma
is at Superior Ingredients Jan. 14th as part of WinterJazzfest. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 13

ALBUM REVIEWS

Western Skies (featuring Sharel Cassity)
Michael Hackett/Tim Coffman Sextet (Summit)
Precarious Towers
Johannes Wallmann (Shifting Paradigm)by George Kanzler

AtalayaDezron Dougas (International Anthem)by George Grella

Alto saxophonist Sharel Cassity hit the Big Apple jazz O ne of the current, widespread problems with newscene running after garnering a Masters degree fromThe Juilliard School in 2007. For the next decade sheheld down chairs in such top New York bands as the
Dizzy Gillespie All Star Big Band as well as big bands
led by Jimmy Heath, Nicholas Payton and Roy
Hargrove. She also held the first alto chair in Sherrie
Maricle’s all-female DIVA Jazz Orchestra from 2007-13.
In 2017 Cassity moved to Chicago and began teachingat colleges in the area, as well as at University of
Wisconsin-Madison. These two albums, led by college
jazz educators in the Chicago and Madison area, bothfeature her.
Western Skies, which could more accurately becalled “Mid-Western Skies”, is co-led by trumpeter
Michael Hackett and trombonist Tim Coffman, bothalumni of David Baker ’s renowned jazz program at
Indiana University, the band with Cassity, Jeremy
Kahn (piano, keyboards), Christian Dillingham (bass)
and Bob Rummage (drums). Hackett wrote four andarranged one other of the eight tracks, with Coffman
arranging two and writing the other. Some of the
tracks—“Blues for MH”, “Esox Fables”, the title
ballad—are straightahead mainstream modern, typicalof the jazz produced in middle American colleges, butelevated by the cogent solos of the co-leaders andCassity. Three tracks are enlivened by two added
AfroLatin percussionists, Arno Gonzalez (timbale,guiro) and Tony Castañeda (congas), the standout
a Hackett salsa arrangement of McCoy Tyner ’s “YouTaught My Heart to Sing”. Two of those tunes and thepower ballad closer, “We the People”, feature Kahn onelectric keyboard while the latter also features Cassity
in two compelling solos.
Precarious Towers is from a quintet led by pianist
Johannes Wallmann, Director of Jazz Studies atUniversity of Wisconsin, Madison, where Cassity has
also taught. Rounding out the band are vibraphonist
Mitch Shiner, bassist John Christensen and drummer
Devin Drobka. Aside from a medium swing version of
the Matt Dennis-Earl Brent standard “Angel Eyes” anda fetching ballad, “Try to Remember” from Wallmann,
all the other tunes (by Wallmann) employ distinctive,
differing rhythmic patterns. “McCoy” borrows
a favorite ostinato of McCoy Tyner ’s; a prominent
snare keeps a downbeat on the semi-rubato“December”; ticking brushes and low piano figures
provide the undercurrent to “Saturday Night Meat
Raffle” and racing drums 8/8s pair with a slower bassline beneath “Never Pet A Burning Dog”.
Cassity is featured more on this than on Western
Skies, her ballad playing luminescent on “Try to
Remember”. A three-part suite, “Pandemica”,
stands out for its challenging singularity, from an
opening, somnolent trio movement (“Quiet Out
There”) through a midtempo swinging second(“Unreliable Narrator”) to a bouncing, syncopated
final section (“Defeat and Imprison the Conman
Strongman”) culminating in alto soaring over full tilt
rhythm and vibraphone.
For more information, visit summitrecords.com andshiftingparadigmrecords.com. Sharel Cassity is at Blue
Note Jan. 2nd-8th with the Dizzy Gillespie Afro-Latin
Experience. See Calendar.

jazz albums is that so many of them are too long, 45
minutes of terrific music padded—because it can bedone—with 15-30 minutes of second-rate material. The
results are unsatisfying.
So it is more than a little unbalancing to point out
that bassist Dezron Douglas’ new album is too short! It
is complete and whole, there is nothing missing, but somany of the tracks could go on much longer. That is
how satisfying are the style and musicianship.
The band is saxophonist Emilio Modeste, pianist
George Burton and drummer Joe Dyson, Jr. and they
have a great ensemble sound. Right from the opening
title track, they lay down the kind of pocket with asmooth, powerful pulse holding within it everythingfrom a sense of agitation to a spiritual-jazz feeling oflaunching off from pedal tones. Bassist and drummer,
especially, have a rapport that has something of theCharles Mingus-Dannie Richmond quality, playing
with and off each other, holding down a bedrock
conversation both trampoline and landing pad forsaxophone and piano.
Modeste is a big part of this sound as well, witha tartness to his tone on all his horns setting him offfrom the current post-John Coltrane/Michael Brecker
crowd. With Burton’s big chords, the sheer sound of
this band is a sensual pleasure. There is what to thisBrooklyn listener seems to be a strong Chicago feel,a mix of last century’s Chicago Underground cuttingedge, but with a melodic style and expressive concernthat updates the ‘70s Loft scene. If only there weremore! The title track ends just as the listener yearns for
expansion, as does “Rosé” and “More Coffee Please”.
Groove, color, inventiveness, spontaneity, it is all there.
The energy is live, personal, even intimate, everythingsounds fresh even with repeated listening.
The only subpar (in this context) track is“Wheeping Birch” (sic), with vocalist Melvis Santa;
so many details just don’t fit such that it sounds like itneeded one more take. As for the rest, the abundanceof pleasures leaves one wanting much, much more.
For more information, visit intlanthem.com. Douglas is at
Bar Bayeux Jan. 4th with Jaleel Shaw. See Calendar.

best effort so far,” says Perelman, on the inside jacket.
Indeed, these two improvisors fit each other likefine gloves. They often create and operate on parallellines, yet when they do cross over, the degree of
empathic listening yields rich results. There are no
empty histrionics or facile posturing, just purecommunication. When, on the opening tune “Nine”,
Shipp conjures dark clouds of dense harmonies,
Perelman responds with coos and sighs and a gooddeal of romantic melodicism that could have comefrom someone like Sonny Rollins in the early ‘60s.
Perelman also introduces a wide, quavering
vibrato in “Thirteen”, reminiscent of both Albert
Ayler and Ben Webster while Shipp tattoos an insistenttheme into the flesh of the material. Even thoughthese players have earned their reputations as
firebrands on the cutting edge, one can also hear alarge swath of the tradition reflected in every
cascading note and motif discovered in each other ’s
company. One breathtaking moment occurs in“Seven”, when the two land, seemingly by chance,
into a brief quotation of Ornette Coleman’s “Dancing
In Your Head”. Oftentimes, Perelman sends air
coursing through the horn like the older masters andShipp is always ready to respond. There are very few
pianists of the post-Cecil Taylor continuum who canactualize in the moment the way that he does
throughout this disc.
As it turns out, Fruition is very aptly titled. These
conversations are the bounty of years of dialogue andcontemplation. One can only hope that such meetings
continue and that someone is there to document them.
Perelman and Shipp are a timeless match.
For more information, visit espdisk.com. This project is at
The Stone at The New School Jan. 5th. See Calendar.

Bro/Joe Lovano–Once Around The
R • Jakob
Room: A Tribute to Paul Motian (ECM)e • George Dumitriu–Monk on Viola(Evil Rabbit)c • Muriel
Grossmann–Universal Code(Dreamland)o • Barry Guy and Friends–Kraków 2018
(Not Two)m • David
Priester–m Live atHaney/Julian
Earshot (Cadence)
Hannisdal–North South East Weste • Inger(Jazzland)
Ponomarev/Konstantin Korolev/n • Anton
Andrey Kim–Teufelskeller(WV Sorcerer Productions)d • Günter
Sommer/Raymond MacDonald–e Sounds,Baby
Songs & Other Noises (Clean Feed)
Lim Yang–Zodiac Suite: Reassuredd • Jeong(Fresh Sound New Talent)• Michael Blake–Combobulate (Newvelle)

Laurence Donohue-Greene, Managing Editorn • Mihály Borbély Quartet–
Miracles of the Night (BMC Records)e • Jakob
Lovano–Once Around The
w Room:Bro/Joe
A Tribute to Paul Motian (ECM)
Fruition
Ivo Perelman/Matthew Shipp (ESP-Disk’)by Robert Bush

There are many potential adjectives one could employ

when discussing the work of Ivo Perelman (tenor
saxophone) and Matthew Shipp (piano). Lazy would
not be among them. Each began making records in thelate ‘80s and have since led or co-led more than 70
sessions. Just in terms of their duo work, Fruition
represents the 18th collaboration. “We believe it’s our

14 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

r
e
l
e
a
s
e
s

• Avram Fefer Quartet–Juba Lee (Clean Feed)• Satoko Fujii–Hyaku: One Hundred Dreams(Libra)• Insomnia Brass Band–
Road Works (Tiger Moon)• Elvin Jones–Revival: Live at Pookie’s Pub(Blue Note)• Charles Lloyd–Trios: Sacred Thread(Blue Note)• Jim Self–My America 2: Destinations(Basset Hound Music)• Spaces Unfolding–The Way We Speak (Bead)• Jeong Lim Yang–Zodiac Suite: Reassured(Fresh Sound New Talent)Andrey Henkin, Editorial Director

Imminent Standards Trio, Vol. 2
JC Sanford (Shifting Paradigm)by Dan Bilawsky

Back before the pandemic, trombonist JC Sanford had

a good thing going at Imminent Brewing in Northfield,
MN. Every now and again he would put together acombo to explore standards, creating a blowing session
in the company of beer. But COVID-19 didn’t care about
any of that; it came in and closed the curtain on the gig.
And were it not for Sanford’s artistic determinationthat would have been the end of the story.
Looking to keep that situation’s spirit in motion
through creative means, Sanford took to the studio in
early 2021 and made a recording in the image of thosehits. Imminent Standards Trio, Vol. 1, with bassist Jeff
Bailey and drummer Phil Hey, highlighted an
impromptu approach to music-making within the
structure(s) of classics from Thelonious Monk, Duke
Ellington, Wayne Shorter and Sam Rivers, among
others. A year or so later, with little changed in termsof safe performance opportunities, Sanford opted tobring together a different trio for this followup.
Working with bassist Charlie Lincoln and drummer
Abinnet Berhanu, the leader takes some old gems totown. The band swings into view with a loose-limbed
ride across Dexter Gordon’s “Fried Bananas”,

closes with a slyly grooving look at Stevie Wonder’s“Isn’t She Lovely” and makes a half-dozen other stops
between those points: Lee Morgan’s “Ceora”, arriving
second, moves with an attractive sway; an Ornette
Coleman twofer comes in the form of a wild andwonderful“Lonely
Woman”,
completewithmultiphonics-based
mayhem,andwelcome“Turnaround”, tied to the blues but not bound by its
rules; a woozy and charming glide over Monk’s “Ugly
Beauty” opens ears and hearts; and Tommy Flanagan’s
chipper “Freight Trane”, plus a plunger-mute enhanced
rendition of Ann Ronell’s “Willow Weep for Me”, makes
up the balance of the program. As with the previous set,
this second volume shines by offering unrestricted
access to the art of standards-framed spontaneity.

FEBRUARY SHOWSFEB 2–5
MS. LISAFISCHERFor more information, visit shiftingparadigmrecords.com.
This project is at Silvana Jan. 5th. See Calendar.

FEB 10–12
BJ THECHICAGOKID

FEB 13
Alien Skin
Chad Fowler, Ivo Perelman, Zoh Amba, Matthew ShippWilliam Parker, Steve Hirsh (Mahakala Music)
by Phil Freeman

Every few years some wild-eyed optimist starts a small

avant garde/free jazz label, which puts out a bunch ofrecords and generates great excitement within the scene.
But in most cases, the money runs out before long andthe label disappears as fast as it arrived. Sometimes theycome back, as Eremite has done in recent years, butfinding a way to support forward-looking music for
decades without a break, as AUM Fidelity and Pi
Recordings have done, is no small achievement. Right
now, Chad Fowler’s Arkansas-based Mahakala Music isthe label of the moment, having released around 40
albums since 2019. Many of their releases bring together
veteran players with those of a younger generation,
allowing the music to sprout up somewhere new.
Alien Skin is such a session, three saxophonists—
Fowler, Ivo Perelman and 2022’s young sensation Zoh
Amba—with pianist Matthew Shipp, bassist William
Parker and Fowler’s partner in Mahakala, drummer
Steve Hirsh. The music is improvised, but structured
and everyone gets to shine. The opening title number isthe shortest (the pieces get longer as the album goesalong) but also the punchiest; it has the bluesy, fanfarelike quality of mid ’60s Archie Shepp, all three horns
wailing and squalling over a heavy, martial beat, withclanging piano immediately recognizable and dominant.
The centerpiece is “In Pairs”, which begins with
Shipp and Perelman in duo, as they have been so often
over the last near-decade. They have a private
language, deep and heartfelt, and it bleeds out of the
speakers. Up next are Amba and Parker, her tone big
and overtly Albert Ayler-esque, his bass thumping likeheavy footsteps in the next room. Fowler and Hirsh
go third, the drummer tapping out a gentle, hissing
beat as the saxophonist murmurs seemingly to himself.
Finally, nearly eight minutes in, the entire sextet
assembles, but they are not wailing; they are singing
together and the music gets softer and softer until it
ends with just gentle puffs of air from the horns.
For more information, visit mahakalamusic.com. Amba is at
National Sawdust Jan. 14th as part of Winter Jazzfest.
Shipp is at The Stone at The New School Jan. 4th-7th (withPerelman on Jan. 5th). Parker is at Gene Frankel Theater
Jan. 6th as part of a Studio RivBea tribute and Loove Labs
Jan. 14th as part of Winter Jazzfest. See Calendar.

JAMESFRANCIESRESIDENCY

FEB 14–15
SAMARAJOYCELEBRATESVALENTINE’SDAY

FEB 16–19
LOGAN

RICHARDSON& FRIENDS

FEB 23–26
KARL
DENSONPROJECTFEB 27MELANIE
CHARLESFEB 28–MAR 5
HIROMI &MICHELCAMILO

131 West 3rd Street | New York City 10012
212.475.8592 | bluenotejazz.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 15

JAN 4The New Syntax
Matthew Shipp/Mark Helias (RogueArt)
by Jason Gross

VANESSA RUBIN QUARTET
JAN 5–8

With dozens of acclaimed albums under his belt,

HERLIN RILEY QUINTETJAN 26–29

Matthew Shipp is easily one of the preeminent jazzpianists of our time. No stranger to collaboration
either, he has crafted noteworthy encounters withbassist William Parker, trumpeter Wadada Leo Smithand saxophonists Marshall Allen, Evan Parker andRoscoe Mitchell, among others. Bassist Mark Heliasalso has an impressive CV, working alongside pianist/composer Anthony Davis, reedplayer Anthony Braxton
and trumpeter Don Cherry in addition to his own solo
work and producing for drummer Bobby Previte andothers. Shipp and Helias have recorded together before
with guitarist Gordon Grdina but here is a chance toluxuriate in the sound of the two by themselves.
As Parker describes it in the liner notes, Shipp andHelias are indeed engaged in musical ‘conversation’here in myriad ways. The session, nine complex song
dialogues running about an hour (recorded one day in
Brooklyn during the initial COVID lockdown of 2020),
has the wonderful airy quality of an ECM release.
Several times, we hear them racing around, playfully
imitating each other (“Psychic Ladder”, “Bridge toLoka”) or in a sly dance, sounding like a potential
couple, each testing out a new mate (“We Sing the
Body Jazz”).
Elsewhere, they start out a piece sadly andcautiously before interlocking into repeating, insistent
figures à la Steve Reich (“Mystic Rubber Band”) ortrailing into peaceful, lyrical territory before
reverting back to a melancholy mood (“The Mystic
Garden”). “Acoustic Electric” deals with contradictions
and polar opposites as befits the title: dour and abstract
passages vie with playful, melodic sections andmeditative strains.
Before ending with the bop-tinged “Sonic Swing
Particles” and calming “Song For You”, the duo show
off their range with the exhilarating eight-minute title
track. Shipp begins with abstract riffing while Helias
saws away with his bow, becoming energized as Shippturns bleak and then angry, leading Helias to respondwith high-pitched free tones as if imitating an Albert
Ayler-like flight, finally leading to an extended, highspeed dramatic climax.
This very impressive piano/bass pairing ranks
with the likes of Carla Bley/Steve Swallow, Charlie
Haden/Kenny Barron and Bill Evans/Eddie Gomez.

JAN 30For more information, visit roguart.com. This project is at
The Stone at The New School Jan. 6th. See Calendar.

JAN 9

LSAT: LAUREN SEVIAN & ALEXA TARANTINO
JAN 10

VANDERLEI PEREIRA & BLINDFOLD TESTJAN 11–12

STEVE TURRE: GENERATIONSJAN 13GAIA WILMER LARGE ENSEMBLE
JAN 14YOUNG MONK PROJECT
JAN 15KENNY WASHINGTON AND HIS TRIOJAN 16DAAHOUD SALIM QUINTETJAN 17–18

BRANDON GOLDBERG TRIOJAN 19

THE OBERLIN SONNY ROLLINS JAZZ ENSEMBLE
JAN 20–21

JOHNNY O’NEAL: TRIBUTE TO THE CROONERSJAN 22STEVE DAVIS: JJ JOHNSON BIRTHDAY TRIBUTE
JAN 23

TATIANA EVA-MARIE: DJANGOLOGY
JAN 24JAZZ AT LINCOLN CENTER YOUTH ORCHESTRAJAN 25

ED CHERRY QUARTETA CENTENNIAL TRIBUTE TO TOOTS THIELEMANSYE HUANG QUINTET: A LUNAR NEW YEAR CELEBRATIONJAN 31–FEB 1

ALLISON MILLER’S BOOM TIC BOOM

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

212.258.9595
BROADWAY AT 60TH ST.

For You I Don’t Want To Go
Kirk Knuffke/Michael Bisio (NoBusiness)by Stuart Broomer

Within the same year that cornet player Kirk Knuffke

released the stellar two CD-set of Gravity Without Airs

16 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD(TAO Forms) with pianist Matthew Shipp and bassist
Michael Bisio, he has also issued For You I Don’t Want
To Go, a duo recording with Bisio as remarkably
sustained as it is spare. The album consists of a single
continuous 37-minute track, “For You I Don’t Want to
Go/ Sea Vamp”, which Knuffke describes beginning as“an open improvisation” in which the musicians“worked our way into my piece ‘For You I Don’t Want
To Go’ and worked our way out of it. Then we morphed
into Michael’s piece, ‘Sea Vamp’.”
The piece begins meditatively, a few bass notes
introducing barely-voiced cornet, air mixing withsound in a kind of mutation of brass, one tone blurring
into another in a way suggesting the plaintive
interiority of a shakuhachi. The tempo picks up andKnuffke mounts a sparkling, register-spanning leadagainst Bisio’s rapid propulsion, almost as if roused
from lament. Even here, though, Knuffke will fasten
briefly on a couple of high notes, returning to thatkeening mutated sound, mining emotional nuance.
Throughout, the musicians move in and out of themes,
deftly shifting tempos and mood and creating
surprising variety, whether it is Knuffke’s shift tosharply-pinched sounds and muffled half-valves or
Bisio’s horn-like articulation when playing arco.
If one may imagine such a piece, with bothworking within relatively conventional techniques assparse (Knuffke’s timbral shifts are subtle and complex
but largely monodic), it is not. Its essential
characteristics are clarity and directness, virtuoso
interaction without ever becoming mere display.
For more information, visit nobusinessrecords.com. Bisio is
at The Stone at The New School Jan. 7th with Matthew
Shipp. Knuffke is at Joe’s Pub Jan. 18th with Alune Wade.
See Calendar.

JAN 20–21 ROSE THEATER

MIDDLE EAST MEDITATIONS
Oud virtuoso Naseer Shamma joins Wynton Marsalis
and the JLCO to mesmerize audiences with a musicaljourney to the Middle East in this milestone event
featuring arrangements by Marsalis, Shamma, andother orchestra members.

FEB 10–11 ROSE THEATERDIANNE REEVES: LOVE IS IN THE AIR
NEA Jazz Master vocalist Dianne Reeves returns forher annual Valentine’s Day concert in Rose Theater.
The ultimate storyteller, Reeves will take audiences ona journey of love—fulfilled, unrequited, carnal,
and spiritual.

FEB 16–18 THE APPEL ROOMJOURNEY THROUGH JAZZ PART III
JALC presents the third installment of its Journey
Through Jazz Series, in which the Jazz at Lincoln
Center Orchestra with Wynton Marsalis focuses on
and illuminates a theme with musical examples.

FEB 24–25 THE APPEL ROOMNDUDUZO MAKHATHINIAND HAMILTON DE HOLANDASouth African pianist-composer Nduduzo Makhathiniand Brazilian 10-string mandolin (bandolim) wizard
Hamilton de Holanda share a bandstand for the firsttime. They’ll mix their respective traditions in a uniqueexploration of the diaspora of African musical culture,from the slave trade and colonization until thepresent day.

DIANNE REEVES
Photo by Jerris Madison

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

My Romance
Stephen Riley (SteepleChase)
Beringia
Otto Hejnic Organism (Hevhetia)
The Message
Doug Webb (Posi-Tone)
by Scott Yanow

With the passing of Joey DeFrancesco and Dr. Lonnie

Smith, Brian Charette is one of the most significant of
the surviving organ players. Actually the 50-year old
has been an important performer during the past 20
years, releasing 20 albums as a leader since 2000. Whilea teenager, he often worked as a pianist including
with Lou Donaldson, Houston Person and Charles
McPherson, but it is on organ that he has really madehis mark. One can hear touches of Jimmy Smith andLarry Young in his playing at times and Charette isdefinitely well aware of his instrument’s history, but
has his own sound and been quite versatile, very muchin evidence on these three releases, each of which
employs Charette as a sideman.
Stephen Riley’s My Romance has the tenor
saxophonist and Charette forming a trio with drummer
Billy Drummond. Riley has an intimate tone soundingat times like a muted Sonny Rollins and his solos often
appear to be whispering to listeners even as he creates
harmonically complex double-time lines. The trio
stretches out on a set of superior songs by the likes of
Rollins, Fats Waller (strange how “Jitterbug Waltz” hasbecome the most covered of all Waller songs by modern
jazz musicians), Richard Rodgers, Charlie Parker,
Antônio Carlos Jobim, Wayne Shorter, Frank Foster,Billy Strayhorn and Joe Henderson. Charette playswith great subtlety, leaving space during the morelaidback performances while Drummond is supportiveand mostly in the background. Among the highlights
are Rollins’ rarely performed “Paul’s Pal”, a thoughtful“My Romance”, a faster-than-usual “Raincheck” anda version of “Shiny Stockings” swinging at a mediumslow tempo. Throughout My Romance, the trio thinks
very much as one voice with Charette blending quietly
into Riley’s musical world.
Beringia features the same instrumentation,
Charette joined by two musicians from the Czech
Republic: drummer-leader Otto Hejnic and tenor
saxophonist Osian Roberts (originally from GreatBritain). However, from the start of the opener, the 5/4
romp “Path Of Strongest”, this outing is much moreenergetic. Charette adjusts and plays louder and withmore intensity than in Riley’s project. The trio performs
seven originals by Hejnic, with even the lone ballad“Left Alone” being full of passion. Roberts has a fairly
original tone on tenor, Hejnic consistently drives thetrio and Charette really cuts loose in places, particularlyon the soul-jazz and gospel-flavored “Snail”, where heis a bit bombastic à la Wild Bill Davis. Among thestronger all-round performances are the disguisedminor blues “Muddy Road”, assertive rhythmic vamp
“Survival Fight” and folkish melody of the title track.
Doug Webb’s The Message has Charette in a quintet
with Webb and Bob Reynolds (tenor saxophones), Greg
Osby (alto) and drummer Charles Ruggiero. Ironically,
Charette is more prominent here than on the previous
trio projects. Not only does he operate (along with
Ruggiero) as the full rhythm section, but also his riffs,
rhythmic accents and assertive accompaniment soundat times like a big band and his presence is very much
felt throughout every chorus. All three of thesaxophonists (unfortunately there are no liner notes or
identification of who solos where) sound inspired by
the presence of the others and the music is mostly
high-powered. The opening two selections, the

18 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

disguised blues “Caught In The Webb” andadventurous one-chord jam “Nekide” (which one
could imagine Ornette Coleman playing), areparticularly explosive with Charette pushing all of thesoloists. Things calm down a little after that,particularly on the ballad “Doug’s Dilemma” while thetwo standards (“I Was Doing Alright” and “Baubles,
Bangles & Beads”) make one think of a Jimmy Smith
jam session from the ‘50s although with more modern
soloists. It is fair to say that there are no sleepy
moments heard during this high-energy set, recordedon Jan. 20th, 2020 just before COVID forced everyone
to calm down.
For more information, visit steeplechase.dk, hevhetia.com
and posi-tone.com. Charette is at Café Bohemia Jan. 6th and
The Django Jan. 30th. See Calendar.

Alive at the Village Vanguard
Fred Hersch & Esperanza Spalding (Palmetto)by Pierre Giroux

P ianist Fred Hersch and bassist Esperanza Spalding(here only on vocals) are a duo who tingle. And when
the two tingles start to mingle, a palpable chemistry is
fully on display throughout Alive at the Village
Vanguard, recorded in October 2018.
Hersch and Spalding began their collaborations
back in 2013 and although they have had only sporadic
performances together since then, they have developed
a musical shorthand catering to their idiosyncraticstyles. As fearless musicians, they took to the stage
with only mental notes about the repertoire to be
performed, which undoubtedly resulted in the warmthand vibrancy of the outing.
The opening track is George and Ira Gershwin’s“But Not For Me”, Hersch offering an obliqueintroduction before Spalding takes a run through the
lyrics, creating her own rhythmic and melodic scat
improvisations to tell the story. Hersch is never far
away with his high standard of artistry.
Hersch’s own composition and lyrics are next on“Dream Of Monk” and it is certainly Monk-ian in styleand spirit. Spalding ducks in and around the lyrics
while Hersch’s playing keeps the bop story in motion.
Monk’s own “Evidence” is given a smartly surging andexpressive reading by Hersch, with Spalding’s vocal
accompaniment both incisive and surprising.
Another bop icon, Charlie Parker, wrote “Little
Suede Shoes” with a Latin tempo and it is one of his
more approachable tunes. Hersch and Spalding
maintain a similar rhythmic structure while engaging
in a process of spontaneous creation that has a great
deal riding on the reflexive moment and do notdisappoint.
“Some Other Time” was a ballad written by
Sammy Cahn/Jule Styne, which Frank Sinatra sang in
the 1944 film Step Lively. The interpretation here
remains faithful to the composers’ intent, beautifullyarranged and showing a respect for space andsimplicity.
The closing track is a Hersch composition,“A Wish”, with lyrics by British vocalist Norma
Winstone. In this straightahead ballad, Spalding’s
approach is pure and innocent while Hersch’s support
is cloaked in restraint.
For more information, visit palmetto-records.com. This
project is at Village Vanguard Jan. 10th-15th. See Calendar.

New Standards, Volume 1
Terri Lyne Carrington/Kris Davis/
Linda May Han Oh/Nicholas Payton/
Matthew Stevens (Candid)
by Jim Motavalli

The final track, Marilyn Crispell’s “Rounds”,
is heard live, with guest trumpeter Ambrose
Akinmusire accompanying the core group. He is notthinking mellow and the band is infected. The rest of
the album is somewhat held back, but Akinmusire—up
front and questing on the whole track—didn’t get thememo. Davis and Carrington catch on and add suitably
jagged support. Six minutes in Davis starts playing
a repetitive figure and everyone reacts to that. Oh takes
it out. Great stuff.
For more information, visit candidrecords.com. This projectis at City Winery Jan. 12th as part of Winter Jazzfest. See
Calendar.

F or the newly revived Candid label, we have this all-star session with a long list of high-profile guest artists
who make it even more special. What, no flute player
in that lineup? Well then we’ll bring in rising star Elena
Pinderhughes, who is on the very first cut, Sara
Cassey’s “Windflower”.
These are “New Standards” in that they are fromwriters of relatively recent vintage, all women welldeserving of the exposure. That opening track isstraightahead bop out of the Blue Note era, though
Terri Lyne Carrington’s drums carry just a hint of funk.
Julian Lage is on board with fellow guitarist Matthew
Stevens (who co-produced) and trumpeter Nicholas
Payton has a coolly compelling open-horn moment(backed by guitar chording).
First-rank bassist Linda May Han Oh is up-front
for the start of Gretchen Parlato’s “Circling”, which
has a youthful-sounding Michael Mayo on vocals.
Smooth, but not smooth jazz. More like if Chet Baker
woke up in 2022 and wanted a hit. The guitarists areagain featured and it works well enough.
Nêgah Santos’ exotic percussion opens Shamie
Royston’s “Uplifted Heart”, with a spoken word
introduction by Shadrack Oppong. The track bubbles
along with Pinderhughes’ flute like something out of
Herbie Mann’s voluminous international catalogue
until saxophonist Ravi Coltrane comes in with Payton
for a written horn section. The track then funks up
under Coltrane’s percolating solo with nice trumpet
interjections.
Stevens is featured with Coltrane and guest
vocalist Dianne Reeves on a balladic treatment of
Eliane Elias’ “Moments”. Reeves is out of late-period
Sarah Vaughan here, with ‘legit’ tendencies. Patricia
Perez’ “Continental Cliff” eschews the guests butbrings in a wind section of Milena Casado Fauquet(flugelhorn), Anabel Gil Diaz (flute) and Veronica
Leahy (bass clarinet) arranged by Edmar Colón. Payton
is featured in his upper register, brilliantly supportedby the section. Kris Davis’ piano then follows suitin spiky fashion. Colón’s writing makes this like acompact big band.
Santos is back for Abbey Lincoln’s “Throw it
Away”, one of her best songs. Melanie Charles gives
the tune a fine vocal reading, sounding a lot like
Lincoln. Somi sings a verse, too, before Davis’ shortand sweet solo supported by scat. The singers join
together at the close.
Die-hard bop fans can tune in to Brandee Younger ’s“Respected Destroyer”, which has a very attractive
line. There is Pinderhughes again and then Payton
takes over. Another ascending vocalist, Samara Joy,
is heard on Carla Bley’s “Two Hearts (Lawns)”. On thebasis of this, Joy, who has a new Grammy-nominatedalbum on Verve, will go to some exciting places. Shesings with a lot of controlled emotion and passion.
Coltrane does his best work of the album, aided by thesection. This is a standout track.
Marta Sánchez’ “Unchanged” belongs to Payton,
though Oh gets a spotlight, as does Davis. Anat Cohen
is a brilliant writer and her gentle “Ima” ballad has
Lage guesting, in quiet storm fashion. Leahy from thewind section gets a welcome bass clarinet interlude.

Sun Ra’s Journey (featuring Marshall Allen)
Tyler Mitchell Octet(smallsLIVE/Cellar Music Group)
by Alex Henderson

Late bandleader Sun Ra was the essence of inside/outside jazz. He was a trailblazer of the avant garde,
yet his legacy had as much to do with melody, harmonyand swing. That aesthetic is very much at work on Sun
Ra’s Journey, which finds bassist and Ra alumni Tyler
Mitchell paying homage to him live at Smalls Jazz Clubon Aug. 20th, 2021.
Mitchell, now 64, joined the Arkestra in the mid‘80s. His featured guest on Sun Ra’s Journey is alto
saxophonist Marshall Allen, who came to the Arkestra
in 1958, staying until Ra’s death in 1993 and then goingon to lead the Ra “ghost band” to the present day. Allen
is now 98, but he has plenty of energy.
Sun Ra’s Journey’s octet is completed by Giveton
Gelin (trumpet), Chris Hemingway (tenor saxophone),
Nicoletta Manzini (alto saxophone), Farid Barron(piano), Wayne Smith (drums) and Ron McBee andElson Nascimento (percussion). Ra’s influence isevident throughout, even on some newer material such
as Manzini’s “Bouncing At Smalls”). Hemingway,
Barron, Smith, McBee and Nascimento are all also partof the current Sun Ra Arkestra under Allen.
Ra’s exuberant “Velvet” is pure hardbop; the tune
would have been perfect for a Jazz Messengers or Jazz
Crusaders date during the ‘60s. Meanwhile, Ra’s
“Discipline 27” isn’t far removed from the Blue Notesound of that era. And “Eddie Harris” remembers atenor saxophonist who was a major figure in funkysoul-jazz as well as postbop.
The octet is more angular and abstract on
Ra’s “Love in Outer Space” and “Dancing Shadows”
and Allen’s eerie “New Dawn”. The inclusion of
pianist Thelonious Monk’s “Skippy” fits right in, as
Monk was a major influence on Ra and many others in
the avant garde.
Allen is very recognizable when he solos. While
influenced by everyone from Johnny Hodges to Ornette
Coleman to Jackie McLean, as his improvisations on
Sun Ra’s Journey demonstrate, he has long been his
own person.
Almost 30 years have passed since Ra’s death.
Thankfully, he left behind a large and impressive
catalogue. And as Sun Ra’s Journey demonstrates, hestill has admirers happy to celebrate his contributions
to both the inside and the outside.
For more information, visit cellarmusicgroup.com. Mitchelland Allen are at The Opera House Jan. 14th with the Sun Ra
Arkestra as part of the Winter Jazzfest. See Calendar.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 19

works, “Pattern Phases” and “A Miracle’s Worth”, bothgripping visions of an avant garde that was and is, but
the album’s commencement is worth its price.

Graceful Collision
Bi Ba Doom (Astral Spirits)
Invisibility is an Unnatural Disaster
SSWAN (577 Records)
by John Pietaro

For more information, visit astralspirits.bandcamp.com and577records.com. Luke Stewart and Jason Nazary are at
Nublu 151 Jan. 15th with a Jaimie Branch tribute as part ofWinter Jazzfest. See Calendar.

Bi Ba Doom may be seen as one of the new music
combos boasting an ‘allstar’ line-up, but this one,markedly, is purely of natural selection. From the first
moments of Graceful Collision’s opener “Skeletal
Representation”, Chris Pitsiokos’ alto saxophone duelswith the electronics triggered by his own horn or one or
the other of Luke Stewart’s basses or possibly Jason
Nazary’s drumkit. Pitsiokos’ brittle, near percussive
tone and rapid-fire keying easily match the sonic output
of his bandmates, with wire brushes frantically slapping
drumheads and electric bass played up high on the neck.
Like the unexpected meteor shower, these electronic
blasts uniquely and markedly color the terrain. The title
cut, the very heart of this album, tells a secretive
instrumental story of bold wailing leaps in descent, bothelectronic and acoustic, calling on musics old, new anddistantly ancient. Digital delay or something like it isplayed by each as masterfully as they do theirinstruments; the end result is unforgettable, with fuzz
bass echoing against tormented saxophone and whirling
drums. Yet another highlight is the epic “Invisible
Maze”: the sound coalesces into classic and forceful freejazz interplay, a funky brand, and as Stewart’s bassline
morphs into a rolling, repetitive pattern, the music
straddles both slow samba and deft AfroCuban sounds.
In this atmosphere, the electronics come front and center,apparently emanating from Pitsiokos’ lamenting andthen howling alto and Nazary, one of the most tenaciousand explosive drummers on today’s new music scene,
flails ringing rimshot into a firestorm. The proper
melding of the acoustic and electronic, highly sought
over decades, is rarely captured in such a musical,
compelling fashion. Perhaps we owe it to the march oftechnology but sounds so very artful are heard
throughout this album, an array of emotions andincendiary digital spectrum. With their debut, Bi Ba
Doom have created a new “New Thing” masterwork.
SSWAN (acronym of the members’ last initials)
similarly refuses to be defined and from the downbeat
of Invisibility is an Unnatural Disaster, a raging fire is set
to the very concept. Nazary is back, tearing open thetitle cut with an alarming solo feeding into collective
improv with guitarist Jessica Ackerley, the acidic storm
only confirmed by the entrance of saxophonist Patrick
Shiroishi. The latter’s extended techniques encase his
instrument in a spectrum of sound: sub-tones, screams,
whispers, vocalese and raw breaths that match thewondrous buzzsaw, snarling single-string work andhyper-rhythmic strokes of Ackerley. The guitarist was apresence in New York’s underground for years andmore recently living in Honolulu, yet there is no sign oftropical ease. And Shiroishi, whose wide palette serves
as his main gig, stationed in LA, emotes from every
corner of the planet and epoch. This trio can deftly
command entire albums, but at the 3:24 mark, a brieftacit fades into the full ensemble, containing thetension, perhaps turmoil, inward. Down to a mezzopiano, the three are joined by trumpet player Chris
Williams and Stewart on electric bass. The explorations
graduate into varying levels of density and volume,recalling the Albert Ayler/Don Cherry soundtrack to
Michael Snow’s New York Eye and Ear Control, yet one
hears bits of Miles Davis’ whispering on the edges of“Shhh/Peaceful” as well. Even when the “peaceful” isgiven poetic license. The album moves into two lengthy

20 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

Variations On No Particular Theme, Pt. 2
Mat Maneri/Tanya Kalmanovitch/Tomo Jacobson/
Kresten Osgood (Gotta Let It Out)
Monuments
Christopher Dell/Christian Lillinger/
Jonas Westergaard/Mat Maneri (enw)by Tyran Grillo

Though often labeled as a microtonal player, violist

Mat Maneri is, more importantly, a microscopic player.
The albums featured here showcase his penchant formaking the invisible audible. First, New York and
Copenhagen meet in the second installment of one of
the most fascinating assemblies to grace the ears of free
improv lovers in a long time. Variations On No Particular
Theme, Pt. 2 convenes Maneri with violist Tanya
Kalmanovitch, bassist Tomo Jacobson and drummer
Kresten Osgood. Whereas Pt. 1 had a ‘folksier’ quality,
this one slithers its way through the burrows beneath asunlit overworld. From the initial stirrings of “Variation
no. 9”, it is clear we are in supremely-attuned territory,
a place where bass and drums bridge synapse after
synapse with electrical charge. The violas are wondrous,
whether singing in duet here and in “Variation no. 7”
or, as in “Variation no. 4”, providing lead andaccompaniment. Despite the darker pall, uplifting
passages abound, as in the glistening “Variation no. 6”,
which flirts with Béla Bartók-ian exuberance, while thetactile “Variation no. 8” crunches between the teeth of
our regard with aural umami. This is not the considered
artifice, however beautiful, of measured prose, butrather the intimate poetry of a quartet at its acutest
level of deference to every moment that unfolds. Suchsynergy happens never by force and always by thegrace of musicians who listen as deeply as they speak.
Monuments places Maneri in quite different (thoughno less simpatico) company. The sustained tone coloringof vibraphonist Christopher Dell, along with Christian
Lillinger (drums) and Jonas Westergaard (bass),
provides further mastication of contrasting flavors. The
latter three form the DLW trio, carving out a more-thanroomy crawlspace for Maneri’s blissful bowing.
Shuffling the titular ”Monuments” with numbered“Voids”, the album’s fluid grammar unspools withimmediate coherence. Industrial soundscapes, likethose rendered in “Monument 13” and “Void 10”, lendthemselves organically to frantic cartographies while“Void 10” and “Monument 20” evoke streets and stones
with real-time veracity. The architectural implications
bloom in long-form pieces like “Monument 18” and“Monument 20”, both reveling in the fleshly details ofurban interaction. The closing “Monument 16” hones anear-mournful edge as it skims the surface of a dark
future. Despite being recorded five years before thepandemic, this music feels like a stockpile of healing,
waiting in the wings for those who need it.
For more information, visit gottaletitout.com andchristopher-dell.de/en/label-enw. Maneri is at The Stone at
The New School Jan. 18th and Barbès Jan. 21st and 24th,
the latter with Jeong Lim Yang. See Calendar.
(ALBUM REVIEWS CONTINUED ON PAGE 24)

BEST OF 2022 BEST OF 2022 BEST OF 2022 BEST OF 2022 BEST OF 2022 BEST OF 2022

ALBUMS OF THE YEARJD ALLEN—Americana, Vol. 2 (Savant)ZOH AMBA—O, Sun (Tzadik)
ANGLES—A Muted Reality (Clean Feed)
AVISHAI COHEN—Naked Truth (ECM)
ANDREW CYRILLE/WILLIAM PARKER/ENRICO RAVA—
2 Blues for Cecil (TUM)
KAJA DRAKSLER/SUSANA SANTOS SILVA—
Grow (Intakt)
DREAMSTRUCK (MARILYN CRISPELL/JOE FONDA/
HARVEY SORGEN)—With Grace In Mind
(Fundacja Słuchaj)
SATOKO FUJII/JOE FONDA—Thread of Light(Fundacja Słuchaj)
JACOB GARCHIK—Assembly (Yestereve)
NATSUKI TAMURA—Summer Tree (Libra)

THE NEW YORK CI

CONCERTS OF THE YEARJD ALLEN—Americana, Vol. 2 (Savant)
ANGLES—A Muted Reality (Clean Feed)SÉRGIO CAROLINO—Below 0 (Clean Feed)I AM: ISAIAH COLLIER/MICHAEL SHEKWOAGA ODE—
Beyond (Division 81)
DREAMSTRUCK (MARILYN CRISPELL/JOE FONDA/
HARVEY SORGEN)—With Grace In Mind
(Fundacja Słuchaj)
SATOKO FUJII/JOE FONDA—Thread of Light(Fundacja Słuchaj)
JACOB GARCHIK—Assembly (Yestereve)
MARY HALVORSON—Amaryllis & Belladonna (Nonesuch)
BARRE PHILLIPS/GYÖRGY KURTÁG, JR.—Face à Face (ECM)
PERRY ROBINSON/MARK WHITECAGE/KEN FILIANO/LOU GRASSI—
Live@VisionFest20 (Not Two)

TRIO 3
Oliver Lake, Reggie Workman, Andrew Cyrille + Bruce Williams
February 5th, Dizzy’s Club
MARC CARY TRIO
Kris Monson, Diego Joaquin + Shariff Simmons
March 16th, Jazzmobile Presents, Interchurch Center
AMERICAN SYMPHONY ORCHESTRA
Conducted by Leon Botstein with Marcus Roberts,
Rodney Jordan, Jason Marsalis, Catherine Russell,
Andy Farber, Joseph Goldberg, Dan Block, Ricardo Pascal,
Jay Brandford, Anthony Kadleck, Andrew Kemp,
Thomas Hoyt, Matthew Gasiorowski, Shawn Edmonds,
Brian Pareschi, Alphonso Horne, Ravi Hassan Best,
Richard Clark, Michael Lormand, Christopher Olness,
Bruce Bonvissuto, Dion Tucker, Max Seigel, Kyle Turner
March 24th, Carnegie Hall Stern Auditorium
A.L. THOMAS KRÜGER WITH
BRASS QUINTET POTSA LOTSA
Silke Eberhard, Nikolaus Neuser, Matthias Muche,
Wolfgang Schmidtke, Anke Lucks
April 21st, Jazzwerkstatt Berlin-NY Festival, Roulette
KRIS DAVIS/DAVE HOLLAND
April 30th, Bang On A Can Long Play Festival, LittlefieldWORLD SAXOPHONE QUARTETDavid Murray, James Carter, Greg Osby, Bruce Williams
June 26th, Vision Festival, The Clemente Soto Vélez
ELVIN JONES LIGHTHOUSE PROJECT
Dave Liebman, Jerry Bergonzi, Gene Perla, Adam Nussbaum
June 30th, Nublu 151
COLIN STETSON SOLO
November 3rd, National Sawdust
JOHN ZORN NEW MASADA QUARTET
Julian Lage, Jorge Roeder, Kenny Wollesen and guest Hilary Hahn
November 27th, Roulette
DARIUS JONES QUARTET
Micah Thomas, Chris Lightcap, Ches Smith
December 3rd, Bar Bayeux

DAVID MURRAY QUARTET
Dave Burrell, Rashaan Carter, Russell Carter
March 2nd, Blue NoteRENKUMichaël Attias, John Hébert, Satoshi Takeishi
March 9th, Soapbox Gallery
FRANK VIGNOLA GUITAR NIGHT
Jimmy Bruno and guest Sheryl Bailey
March 30th, Birdland Theater
BLOODMIST
Jeremiah Cymerman, Toby Driver, Mario Diaz de Leon
April 30th, The Stone at The New School
MARY HALVORSON’SAMARYLLIS & BELLADONNA
Adam O’Farrill, Jacob Garchik, Patricia Brennan,
Nick Dunston, Tomas Fujiwara,
Mivos Quartet: Olivia De Prato, Maya Bennardo,
Victor Lowrie Tafoya, Tyler J. Borden
May 18th, National Sawdust
VOID PATROL
Payton MacDonald, Billy Martin
Elliott Sharp, Colin Stetson
June 2nd, The Sultan RoomDREAMSTRUCK
Marilyn Crispell, Joe Fonda, Harvey Sorgen
September 8th, Roulette
ERIK FRIEDLANDER/MARK HELIAS/
SATOSHI TAKEISHI
September 28th, Zürcher Gallery
DEATHBLOW
Amanda Monaco, Joe Fiedler, Sean Conly, Satoshi Takeishi
October 27th, Lioness Women in Jazz Series,
Flushing Town HallJOSH SINTON PREDICATE QUARTET
Jonathan Finlayson, Christopher Hoffman, Tom Rainey
December 7th, Cría Cuervo Series,
Academy Records Annex—Andrey Henkin—Laurence Donohue-Greene—Andrey Henkin—Laurence Donohue-Greene

MUSICIANS OF THE YEARJOE FONDA (bass)
MARY HALVORSON (guitar)
SHABAKA HUTCHINGS (saxophone)
INGRID LAUBROCK (saxophone)
OLIVER LAKE (saxophone, vocals, poetry)

UP-AND-COMERS OF THE YEARZOH AMBA (saxophone)
ISAIAH COLLIER (saxophone)
NICK DUNSTON (bass)
LEO GENOVESE (keyboards)
SAMARA JOY (vocals)

VENUES OF THE YEAR

THE JAZZ GALLERY (jazzgallery.org)
ROULETTE (roulette.org)
SMOKE (smokejazz.com)
THE STONE AT THE NEW SCHOOL (thestonenyc.com)
VILLAGE VANGUARD (villagevanguard.com)

LABELS OF THE YEAR

CLEAN FEED (cleanfeed-records.com)
ECM (ecmrecords.com)
FUNDACJA SŁUCHAJ (fsrecords.net)
ROGUEART (roguart.com)
TZADIK (tzadik.com)

HONORABLE MENTIO

Ahanes - Petrichor (Clean Feed) • Zoh Amba - O Life, O Light Vol. 1 (577) • Arild Andersen - Affirmation (ECM) • Lucian Ban - Ways of Disappe
Karl Berger/Max Johnson/Billy Mintz - Sketches (Fresh Sound) • Johan Berthling - Björnhorn (Thanatosis) • Michael Blake - Combobulate (Newv
Daniel Carter/Matthew Shipp/William Parker/Gerald Cleaver - Welcome Adventure!, Vol. 2 (577) • Andrea Centazzo/Francesca Gemmo - Binary Sou
Copenhagen Clarinet Choir - Organism (År&Dag) • Tomasz Dabrowski & The Individual Beings - Eponymous (April) • Glenn Dickson - Wider
Tony Falco/Josh Sinton/Jed Wilson - Adumbrations (Form Is Possibility) • Avram Fefer - Juba Lee (Clean Feed) • Michael Formanek/T
Stephen Gauci/Joe Hertenstein - Soundlift Berlin-New York (featuring Alexander von Schlippenbach & Jan Roder) (Gaucimusic) • Sverre Gjørvad - Here Comes
Hard Rubber Orchestra - Iguana (Red Shift) • High Alpine Hut Network - 727 / 16 (Ansible Editions) • Lisa Hilton - Paradise Cove (Ruby Slipper Pr
Clément Janinet - Ornette Under the Repetitive Skies III (BMC) • Darren Johnston - Life in Time (Origin) • Sylvain Kassap - Octobres (RogueArt) • Franklin Kiermyer’s Scatte
Ingrid Laubrock/Andy Milne - Fragile (Intakt) • Ingrid Laubrock/Tom Rainey - Counterfeit Mars (Relative Pitch) • Urs Leimgruber/Jacques Demierre/BarreCharles Lloyd - Trios: Sacred Thread (Blue Note) • Brandon López/Ingrid Laubrock/Tom Rainey - No es la playa (Intakt) • Tony Malaby/Angelica Sanchez/Tom Rainey Joe McPhee/Evan Parker - Sweet Nothings (for Milford Graves) (Corbett vs. Dempsey) • Ikue Mori - Tracing The Magic (Tzadik) • Ky
David Murray/Brad Jones/Hamid Drake - Seriana Promethea (Intakt) • Michael Musillami/Rich Syracuse/Jeff Siegel - Flight of Evangeline (Playscape) • Lu
The OGJB Quartet - Ode To O (TUM) • Kresten Osgood - Plays The Organ For You (April) • Martin Philadelphy/Kresten Osgood - Komp (Delphy) • Émil
Helga Plankensteiner - Barionda (Jazzwerkstatt) • PLOP & JUNNU - Eponymous (Fiasko) • Anton Ponomarev/Konstantin Korolev/Andrey Kim Harish Raghavan - In Tense (Whirlwind) • Enrico Rava/Fred Hersch - The Song Is You (ECM) • Dave Rempis/Avreeayl Ra - Bennu (Aerophonic) • Joel Ross
Shake Stew - Heat (Traumton) • Matthew Shipp/Mark Helias - The New Syntax (Rogue Art) • Josh Sinton’s Predicate Quartet - Four Freedoms (Form Is P
Jürg Solothurnmann/Josep-Maria Balanyà - Natural Born Structures (Creative Works) • Günter Baby Sommer/Raymond MacDonald - Sounds, Songs & Other Nois
Subsystem - Drei (Tiger Moon) • T.ON - Plays Matthias Muche (Impakt) • Tarbaby (feat. Oliver Lake) - Dance of the Evil Toys (Clean Feed) • Thumbscrew - Multicolored
Vellum - Glints (Ni-Vu-Ni-Connu) • David Virelles - Nuna (Pi) • Andreas Willers - search & rescue (JazzHausMusik) • Martin Wind New York Bass Quartet -ITY JAZZ RECORD BEST OF 2022 BEST OF 2022 BEST OF 2022 BEST OF 2022 BEST OF 2022 BEST OF 2022
MISCELLANEOUS CATEGORIES OF THE YEAR

UNEARTHED GEMS

ART BLAKEY & THE JAZZ MESSENGERS—In Concert (SteepleChase)
ALAN BRAUFMAN—
Live in New York City (Valley of Search)
PETER BRÖTZMANN/FRED VAN HOVE/HAN BENNINK—
Jazz in der Kammer Nr. 71 (Trost)
DICK HYMAN—George Avakian Presents One Step to Chicago:
The Legacy of Frank Teschemacher and the Austin High Gang
(Rivermont)
CHARLES MINGUS—The Lost Album from Ronnie Scott’s(Resonance)

LATIN RELEASESMARTIN BEJERANO—#CubanAmerican (Figgland)
PATRICIA BRENNAN—More Touch (Pyroclastic)
JOE MCCARTHY’S NEW YORK
AFRO BOP ALLIANCE BIG BAND—
The Pan American Nutcracker Suite (Angelface)
CHUCHO VALDÉS/PAQUITO D’RIVERAREUNION SEXTET—I Missed You Too!
(Paquito-Sunnyside)
MIGUEL ZENÓN—Música de Las Américas (Miel Music)

VOCAL RELEASESCAMILLE BERTAULT/DAVID HELBOCK—
Playground (ACT Music)
SAMARA JOY—Linger Awhile (Verve)
FRED MOTEN/BRANDON LÓPEZ/GERALD CLEAVER—
Eponymous (Reading Group)
CATHERINE RUSSELL—Send For Me (Dot Time)CÉCILE McLORIN SALVANT—Ghost Song (Nonesuch)

LARGE ENSEMBLE RELEASESANGLES—A Muted Reality (Clean Feed)
SILKE EBERHARD’S POTSA LOTSA XL& YOUJIN SUNG—Gaya (Trouble in the East)
MICHAEL LEONHART ORCHESTRA—The Normyn Suite (Sunnyside)HEDVIG MOLLESTAD/
TRONDHEIM JAZZ ORCHESTRA—
Maternity Beat (Rune Grammofon)
PER ZANUSSI & VESTNORSK JAZZENSEMBLE—
Li (And The Infinite Game) (Clean Feed)

ONS—NEW RELEASESTRIBUTESSTEVEN BERNSTEIN & THE HOT 9—
Manifesto Of Henry-isms (Community Music, Vol. 3)(Royal Potato Family)
JAKOB BRO/JOE LOVANO—
Once Around The Room: A Tribute to Paul Motian (ECM)
STEVE CARDENAS/BEN ALLISON/TED NASH—
Healing Power: The Music of Carla Bley (Sunnyside)
STEFAN PASBORG—Ritual Dance (Sunnyside)
JEONG LIM YANG—Zodiac Suite: Reassured(Fresh Sound-New Talent)

DEBUTSZOH AMBA—O, Sun (Tzadik)
INGER HANNISDAL—North South East West (Jazzland)
MALI OBOMSAWIN—Sweet Tooth (Out Of Your Head)NICOLÁS POLITZER—Será Niebla (ears&eyes)
RICK ROSATO—Homage (s/r)

REISSUESGEORG GRÅWE QUINTETT—New Movements(FMP-Corbett vs. Dempsey)BLUE MITCHELL—Bring It Home To Me (Blue Note)
MASAYUKI TAKAYANAGI—
Station ‘70: Call in Question / Live Independence(P.S.F.-Black Editions)
BARNEY WILEN—Zodiac(Disques Vogues-We Are Busy Bodies)
YAMASH’TA & THE HORIZON—Sunrise from West Sea(London-Wewantsounds)

SOLO RECORDINGSMICHAEL BARDON—The Gift of Silence (Discus-Music)
HAROLD DANKO—Rite Notes (SteepleChase)
MARIA FAUST—MOnuMENT (Bush Flash)
JOE FIEDLER—The Howland Sessions (Multiphonics Music)
MARGAUX OSWALD—Dysphotic Zone (Clean Feed)

ORIGINAL ALBUM ARTWORKSTEVEN BERNSTEIN & THE HOT 9—
Manifesto Of Henry-isms (Community Music, Vol. 3)(Royal Potato Family)
GERALD CLAYTON—Bells on Sand (Blue Note)JOÃO GATO APOPHENIA—Prötzeler (Robalo)
STEFAN PASBORG—Ritual Dance (Sunnyside)
HELGA PLANKENSTEINER—Barionda (Jazzwerkstatt)LIVE ALBUMSSERGIO FEDELE—Le Melancolie di Tifeo (Setola Di Maiale)
SATOKO FUJII—Hyaku: One Hundred Dreams (Libra)
HAL GALPER TRIO—Invitation to Openness(Live at Big Twig) (Origin)
JOE HERTENSTEIN—Live During Lockdown(feat. Michael Moore & Greg Cohen) (Jazzwerkstatt)
PUNKT. VRT. PLASTIK (KAJA DRAKSLER/PETTER ELDH/CHRISTIAN LILLINGER)—
Zurich Concert (Intakt)

BOXED SETSALBERT AYLER—Revelations: The Complete ORTF 1970
Fondation Maeght Recordings (Elemental Music)
LONDON JAZZ COMPOSERS ORCHESTRA—Kraków
2020 (The Small Formations) (Not Two)
THE PYRAMIDS—Aomawa: The 1970s Recordings (Strut)
WADADA LEO SMITH—Emerald Duets (TUM)
MASAYUKI TAKAYANAGI—
Station ‘70: Call in Question / Live Independence(P.S.F.-Black Editions)

JAZZ BOOKS

Ugly Beauty: Jazz in the 21st Century
Phil Freeman (Zero Books)
Holy Ghost: The Life and Death of Free Jazz Pioneer Albert Ayler
Richard Koloda (Jawbone Press)
Saxophone Colossus: The Life and Music of Sonny Rollins
Aidan Levy (Hachette)
Ruminations & Reflections:
The Musical Journey of Dave Liebman & Richie Beirach
Dave Liebman/Richie Beirach (Cymbal Press)
Bill Frisell, Beautiful Dreamer: The Guitarist Who
Changed The Sound of American Music
Philip Watson (Faber)earing (Sunnyside) • Battle Trance - Green of Winter (New Amsterdam) • Konrad Bauer/Georg Gräwe/John Lindberg - Sottobosco (Random Acoustics)
velle) • Bloodmist - arc (5049) • Mihály Borbély - Miracles of the Night (BMC) • Alina Bzhezhinska & HipHarpCollective - Reflections (Strut)uls (Ictus) • The Chicago Plan - For New Zealand (Not Two) • Albert Cirera/Kamarilla - Aquella Cosa (Underpool) • Cliffs - Eponymous (Off)Than The Sky (s/r) • Kaja Draksler - In Otherness Oneself (Unsounds) • Trevor Dunn’s trio-convulsant avec folie à quatre - séances (Pyroclastic)
Tim Berne/Craig Taborn/Gerald Cleaver - Other Zones (Circular File) • Yuko Fujiyama/Graham Haynes/Ikue Mori - Quiet Passion (Intakt)
The Sun (Losen) • Larry Goldings/Peter Bernstein/Bill Stewart - Perpetual Pendulum (Smoke Sessions) • Mats Gustafsson/NU Ensemble - Hidros 8 (Trost)rod.) • Shabaka Hutchings - Afrikan Culture (Impulse!) • Ilmiliekki Quartet - Eponymous (We Jazz) • Insomnia Brass Band - Road Works (Tiger Moon)
er The Atoms That Remain - Emancipation Suite (Mobility Music) • Kirk Knuffke - Gravity Without Airs (TAO Forms) • KontraSax - Die Kunst Des Reisens (JazzHausMusik)e Phillips - Last Concert in Europe (Jazzwerkstatt) • José Lencastre - Inner Voices (Burning Ambulance) • Janel Leppin - Ensemble Volcanic Ash (Cuneiform)
Huapango (RogueArt) • Rob Mazurek - All Distances Inform (RogueArt) • Jim McNeely/Frankfurt Radio Big Band (feat. Chris Potter) - Rituals (Challenge-Double Moon)
yle Motl - Hydra Nightingale (Infrequent Seams) • Matthias Müller/Matthias Muche/Jeb Bishop - Trombones From A To B (Jazzwerkstatt)ucas Niggli/Matthias Loibner - Still Storm (Intakt) • Gard Nilssen Acoustic Unity - Elastic Wave (ECM) • Paal Nilssen-Love Circus - Pairs of Three (PNL)
le Parisien - Louise (ACT) • Jeff Parker - Mondays at The Enfield Tennis Academy (Eremite) • Jeff Parker/Eric Revis/Nasheet Waits - Eastside Romp (RogueArt)
Teufelskeller (WV Sorcerer Prod.) • Marek Pospieszalski - Dürer’s Mother (Clean Feed) • A Pride of Lions - No Questions No Answers (RogueArt)
s - The Parable of The Poet (Blue Note) • Andres Røysum/Christian Meaas Svendsen/Kresten Osgood - Music Improvised on September 23rd, 2021 (Astral Spirits)
Possibility) • Wadada Leo Smith/Henry Kaiser/Alex Varty - Pacifica Koral Reef (577) • Torben Snekkestad/Søren Kjærgaard - Another Way of the Heart (Trost)ses (Clean Feed) • Tyshawn Sorey Trio + 1 (with Greg Osby) - The Off-Off Broadway Guide to Synergism (Pi) • Spaces Unfolding - The Way We Speak (Bead)d Midnight (Cuneiform) • Scott Tinkler - Goose to Goose (s/r) • Mark Turner - Return From The Stars (ECM) • Lisa Ullén/Elsa Bergman/Anna Lund - Space (Relative Pitch)
Air (Laika) • Francis Wong - Legends and Legacies II (Asian Improv) • John Yao’s Triceratops - Off-Kilter (See Tao Music) • John Zorn - Suite for Piano (Tzadik)(ALBUM REVIEWS CONTINUED FROM PAGE 20)

MSM Molecular Systematic Music - LiveJames Brandon Lewis Quartet (Intakt)
Eye Of I
James Brandon Lewis (Anti)
Eponymous
Cliffs (Off)by John Sharpe

Tenor saxophonist James Brandon Lewis has made aseries of acclaimed recordings since moving to New
York in 2012. But rather than rehash winning gambits,with each next step he expands both his scope and circle
of collaborators while maintaining an individual voice.
As one of the first American bands to play inEurope after the first phase of the pandemic, it was
unclear whether Lewis’ quartet with pianist Aruán
Ortiz, bassist Brad Jones and drummer Chad Taylor
would get the go-ahead, right up to their appearance at
the UNERHÖRT! festival in Zurich in May 2021. That
explains the palpable joy in both the music and Lewis’remarks to the audience on MSM Live, the double-disc
set that captures their performance. They revisited therepertoire from their first album, Molecular (Intakt,2020), the debut of Lewis’ new compositional method
inspired by the structure of DNA. Live each number
stretches to two or three times its studio length, not due
to rote sequences of solos, but through more thoroughexcavation of the inherent ideas. Ortiz’ amalgam ofminimalist variations and sparkling runs meshes wellwith both Lewis’ nagging incantations and Taylor’s

rhythmic alchemy. Jones adds a rock-solid foundation,
but more importantly, is party to the numerous
underlying twists and turns that contribute depth andcohesion to each installment. Among the standouts are
the anthemic “Molecular”, soaring ballad “An Anguish
Departed”, choppy Latin-inflected “Neosho” andsurging groove of “Breaking Code”, which closes the set
on a peak.
On Eye Of I, Lewis helms an unconventional power
trio with plugged-in cellist Christopher Hoffman anddrummer Max Jaffe. Straight from the git-go on“Foreground”, the first of three sub-one-minute pieces,
Lewis signals his take-no-prisoners intent via a piledriving tattoo, scratchy cello and braying tenor. Thatethos also holds sway on the wall-of-sound “Middle
Ground” and the title track, with its heavy metal cello,roiling drums and imploring ululations. Lewis’ knackfor folksy melodies gaining their strength from insistent
exposition is more in evidence on songs like “Within
You Are Answers” and “The Blues Still Blossoms”,
where he breathily caresses a wistful air, abetted byunadorned cello counterpoint, though tumbling drums
still retain a hint of bombast. Elsewhere Lewis brings
the two approaches together. On Donny Hathaway’s“Someday We’ll All Be Free”, with cornet player Kirk
Knuffke, fuzzed cello and a rocky throb uplift thegorgeously interweaving horns in one of the highlightsof the set. Knuffke’s other appearance, “Even The
Sparrow”, likewise supplies a hit, cornet embellishes arapturous saxophone line, over churning drums in an
increasingly impassioned communion. Lewis rings thechanges on the final “Fear Not” calling on the posthardcore Messthetics, comprising ex-Fugazi bassist Joe
Lally and drummer Brendan Carty, alongside former
bandmate guitarist Anthony Pirog, to strike paydirt
with a grinding riff to fuel another crowd-pleaser.

LIVE MUSIC | URBAN WINERY | RESTAURANT | BAR | PRIVATE EVENTSAT PIER 57 AT HUDSON RIVER PARKNEW YORK • CHICAGO • NASHVILLE • ATLANTA • BOSTONGRAND CENTRAL • PHILADELPHIA • HUDSON VALLEY

1.08
Anthony David withspecial guest J. Brown

1.09
King Solomon Hicks& Quinn Sullivan

NEW STANDARDS LIVE:

Curated by Terri Lyne Carrington
Hosted by Melanie Charles & Yunie Mojicawith Linda May Han Oh, Kris Davis,
Mary Halvorson, Helen Sung,
Michele Rosewoman, Rahsaan Carter,
Michael Mayo, Devon Gates,
Sara Serpa, Tia Fuller,
Caroline Davis, Veronica Leahy,
Next jazz Legacy, and more

*Pre-show conversation withTerri Lyne Carrington

1.12

New Standards Live: Curated by
Terri Lyne Carrington

2.01

Shemekia Copleand
25 11TH AVE AT HUDSON RIVER PARK, NEW YORK, NY 10011

1.28

Nabaté Isles

2.05

Matthew Whitaker@CITYWINERYNYC / CITYWINERY.COM / 646.751.6033

24 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

Lewis ventures off the map on Cliffs, an eponymous
triumvirate completed by the French pair of fretlesselectric bassist Floy Krouchi and drummer BenjaminSanz. The former, whose Bass Holograms project in
New York enlisted the likes of drummer Ches Smith,cellist Hank Roberts and singer Emilie Lesbros,
supplements her sound with effects ranging fromambient washes to jagged distortions while with his
combination of textural mischief and locomotive meter,
the latter shows why his credits include David Murray,
Archie Shepp, Oliver Lake and more. The centerpiece,
and at 22-minutes by far the longest track, the jointly
composed “The Three Streams” evolves throughmultiple moods from brooding sustains, from which
emerge a searching melody sketched by feathery tenor,
to an electric bass meditation over a sparse soundscape,to a percolating vamp, which finds Lewis stretching out
too, his rhythmic cadences echoing Sanz’ pulse, before
uniting in a repeated ostinato to finish. On the remaining
five improvs the trio carve an egalitarian path, but one
which often breaks into mesmeric beats and not only
during the descriptively titled “Transe With
Arabesques”, but also in the rocky opening “The DoorTo The Cliffs”, where Krouchi comes on like a revving
motorbike and Lewis brings a reflective whiff of John
Coltrane. Even in such almost entirely uncharted
territory, Lewis’ penchant for form shines through, inthe alternation between a siren-like oscillation andstrings of pneumatic squeezed-out notes and in his
juxtaposition of similarly contrasting figures elsewhere.
For more information, visit intaktrec.ch, anti.com andoff-recordlabel.blogspot.com. Lewis is at Gene Frankel Theater
Jan. 4th as part of a Studio RivBea tribute, Interchurch Center
Jan. 11th with Craig Harris and The Stone at The New School
Jan. 14th and 19th-21st. See Calendar.

In These Times
Makaya McCraven (International Anthem/Nonesuch/XL)
by Tom Greenland

Makaya McCraven is a boundary-blurrer, fuzzying

distinctions between foreground vs. background, tightvs. loose, in-the-groove vs. off-the-grid, composition
vs. improvisation, live vs. studio, folk vs. classical,
hip-hop vs. jazz. With In These Times, he digs deeper
into his role as producer/mixer/composer/editor,
inspired by the likes of Teo Macero, Pete Rock, J Dilla—
maybe even Lee “Scratch” Perry—culling raw material
from five studio and four live performances thensubjecting it to extensive post-production permutations.
With core collaborators bassist Junius Paul,
guitarist Jeff Parker, vibraphonist Joel Ross andtrumpeter Marquis Hill (all Chicagoans), plus harpist
Brandee Younger, a string quartet (violinists Macie
Stewart and Zara Zaharieva, violist Marta Sofia Honerand cellist Lia Kohl); additional winds (De’Sean Jones,
Greg Ward, Irvin Pierce), guitarist (Matt Gold) andpianists (Greg Spero, Rob Clearfield), his possibilities
were manifold. The resulting remixes are intricately
layered and polished, individual instruments ‘cooked’
until fully blended into the collective sonic stew.
This is a strength and a weakness: tracks like
“Dream Another Lullaby” and “The Knew Untitled”

sound like singles with crossover potential, theirsmooth sheen belying their complexities, but othertracks seem to noodle along, interesting for theirtessellated textures but lacking development, their‘liveness’ dulled in post-production. Most interesting
are McCraven’s continual experiments with rhythm,
whether tricky odd meters (5s, 7s, 9s, 11s) delivered
with in-the-pocket oomph, or ?uestlove-like live
imitations of studio-manipulated, non-quantized(i.e. lopsided) drum-beats. His uncanny groove on“The Knew Untitled” is a sterling example: each of his
four limbs seems to be playing in a parallel temporal
universe, slightly out of sync with the others, pulling
simultaneously forwards/backwards/sideways on thetime-feel, yet somehow retaining a conglomerate pulse,
proof positive that ‘loose’ can be ‘tight.’
So while this album mix is both sophisticated andaccessible, active listeners may derive deeper pleasurefrom witnessing the music live, unfettered by the
producer ’s hand, as suggested by recent videos of
McCraven & Co. performing some of this material at
Brooklyn’s Public Records.
For more information, visit intlanthem.com. McCraven is at
Superior Ingredients Jan. 14th as part of Winter Jazzfest.
See Calendar.

Ancient Songs of Burlap Heroes
Nate Wooley Columbia Icefield (Pyroclastic)
Plays La Berge | Greenstone | Pluta | Wooley
T.ON (Impakt)
by Franz Matzner

second, the pieces utilize prerecorded elements,
categorized as “fixed media” because they are not
traditionally composed, instead, based on a
combination of written description, directionalsuggestions and performed sound; third, the live
elements include a complex interaction of technologies
and methods, the most significant of which may be the“talk boxes”, basically an array of speakers and hornbells connected directly to Matthias Muche’s trombone
via long plastic tubes allowing the prerecordedmaterial and Muche’s playing to flow both into andout of the instrument; and finally, the overall set-up
was laid out to interact with the specific acoustics ofeach cathedral, each performer simultaneouslyinteracting with the “fixed media”, one another andthe architectural space. Add special techniques likedrummer Etienne Nillesen’s use of tiny, stiff brushes
pulled across the snare or Constantin Herzog’s
seemingly simple attaching of a standard binder clip
to the bass strings and the result is strange andunpredictable additions. In totality, an amalgam ofsound emerges, which, while owing allegiance to pastinnovators like Anthony Braxton or the found sounds
and minimalism of John Cage, goes beyond simple
mimicry. It represents its own form of interaction
between space and sound, technical constraints andthe possibilities of each instrument.
In sum, both albums are connected through theirmutual plunge into abstraction and a confluence ofmusical inputs, embracing everything from ambient tomore traditional jazz instrumentalism, to manipulated
layers, all packaged into one whole.
For more information, visit pyroclasticrecords.com andimpakt-koeln.de. Wooley is at The Stone at The New School
Jan. 19th and 21st. See Calendar.

Trumpeter Nate Wooley’s stature as a contemporary

YUKO & JOEY—TIGER WALTZ (UNIT)
In every piece, one can hear how much both musicans love
to make music together and are having fun to improvise.

—BAK, CRITIC CONCERTO

It’s rarely about solo virtuosity for Yuko & Joey. It’s listening
to each other and exploring the musical material that istheir primary interest.

—ROLF THOMAS, JAZZTHING

ERICHFISCHER-MUSIK.CH/YUKOANDJOEY

musician, composer and conceptualist is established.
All three are on full display across Ancient Songs of
Burlap Heroes and Plays La Berge | Greenstone | Pluta |Wooley. The first is a Wooley quartet project, the second
is not as directly related to Wooley, but one of his
compositions and playing contribute to the T.ON trio’s
atypical method. Combined, the albums present a large
expanse of sound, a term used here deliberately
becausetheresults
challenge
conventionally
understood distinctions between music, soundsculptures, electronica and ambient landscapes.
Both albums exhibit core traits like minimalism,
liquidity and an eerie resonance delivered not so muchby notes, but rather auricular lamina and textural
pools. While explosive moments occur, emanations
much like ocean waves, low keens, warbles, echoing
whale song, suggestions of distant howls and eveninterjections of sound effects drawn straight out of
science fiction movies prevail. Nothing is off limits.
Relatively speaking, Ancient Songs of Burlap Heroes
proves the more centered within the sphere of abstract
modern jazz. From the album’s opening moments ofcalm washes and river ripples to its elongated, clear
trumpet sounds to its sudden upheavals of dissonance
via Trevor Dunn’s electric bass and drummer Ryan
Sawyer ’s crashing cymbals, the music forms a
meditative and hallucinogenic sonic dispersion.
Particularly intriguing is the melding of Susan Alcorn’s
guitar slides with ethereal trumpet, which often floats
above like celestial calls.
Plays La Berge | Greenstone | Pluta | Wooley ismore of an auditory and conceptual challenge, raising
the perennial debate of how much an audience must
know about a project’s conceits to access the final
product. In this case, the need tilts toward awareness:
first, each piece was recorded in one of four cathedralsdesigned by the famous architect Gottfried Bohm;

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 25

The Prophets In The City (featuring Joe Russo)
The Bogie Band (Royal Potato Family)
by Elliott Simon

The Prophets In the City, from The Bogie Band featuring

drummer Joe Russo, is a gloriously fictitious portrayalof reality. Saxophonist Stuart Bogie wisely partneredwith Russo for this expansive project, which showcases
the longterm affinity winds and percussion have for
one another. Through impressive arrangements Russo
summons a multicultural setting as NYC as it gets.
Russo and sousaphonist John Altieri deftly keep thingson track while a mass of polyrhythmic Afrobeat street
music combined with hip-hop, funk, jam-band andjazz emerges from this 10-piece group.
A concept album in the classic ‘vinyl’ sense, The
Prophets In the City finds the Bogie Band animating
NYC through its music just as N.K. Jemisin’s novel
The City We Became vivifies NYC by its text. The title
track’s flute/saxophone whirling intro signals theprophets “Arrival” and is the beginning of a four-partsuite. Altieri combines with Russo to lay down apulsing rhythm, bringing the session to life. Ensemble
playing, call and response with Bogie and a soulful
trumpet succeed in achieving “Balance” and“Discipline” but an instrumental choir slows the city toadmire its heroes piously on “Joy”.
“The Witnesses” uses a repetitive horns motif tomirror car horns as the city’s streets open and lead tothe rivers where chimes and harmony turn spring into
summer for the spiritually moving “We Met Them by
the Water”. “Take Them On”, with intense flute andpotent authoritative sonics, signals something big is in
the offing. Crowds cheer on the anthemic “We
Organize” as the players explore one another,attempting to turn disorder into order for a culminationof the inevitable wakening. Remaining tunes further
describe the prophets’ purpose, culminating in an
elegant chime choir, which discovers the “God in Us”.
The beauty of The Prophets In The City is how it allows
each listener personally to animate NYC through a
joint excursion with very talented musicians.
For more information, visit royalpotatofamily.com. Stuart
Bogie is at Nublu 151 Jan. 18th as part of Winter Jazzfest.
See Calendar.

Quartetinho
Anat Cohen (Anzic)
by Marco CangianoThis is Israeli-born clarinetist Anat Cohen’s followup

to her 2019 Grammy-nominated Tentet album Triple
Helix. Where that album did inevitably remind one of
the Gil Evans-Maria Schneider sound, with luscious
arrangements and brilliant solos, Quartetinho strips
down the Tentet to its bare essential while revealing an
original sound based on permutations among Cohen’sclarinets, Vitor Gonçalves’ keyboard and accordion,
James Shipp’s vibraphone, synthesizer and percussion

and Tal Mashiach’s bass and acoustic guitar. The
combinations seem never to repeat and each tune
presents an unpredictable new palette. That said, thisis not chamber-like music but intead an exciting combo
cruising through original material and very creativeinterpretations of Brazilian music—one of Cohen’s
main inspirations—and even a theme taken from
Dvorák’s New World Symphony.
The result is an exquisite fresco, evolving insuite-like fashion. It starts with a suspenseful intro(“Baroque”), easing into Egberto Gismonti’s delicate“Palhaço”, where the blend of piano and vibraphone,over which clarinet dances, appears for the first time.
A piano solo dives into the melody in dialogue withrounded bass. Cohen’s “Birdie” and “Canon” establish
a more mysterious atmosphere through a tapestry of
spacey Fender Rhodes and Mashiach’s arpeggios,
woody clarinet excelling by cherry picking each notewith unique taste. Antônio Carlos’ Jobim’s “O Boto”
follows with a typical mix of joy and saudade anddelightful unisons between clarinet and vibraphone.
Accordion takes over for Mashiach’s “Old Guitar”,
with reference to new tango atmosphere à la Dino
Saluzzi. Cohen’s deep appreciation and knowledge ofthe jazz tradition emerges in her funky-folksy blues“Lousiana” and through a reading of Dvorák’s spiritual“Going Home”, her bass clarinet at its most expressive.
“Vivi & Zaco” concludes with acoustic guitar, joined insuccession by vibraphone, accordion and finallyclarinet, on a melancholy yet heartfelt note.
For more information, visit anzicrecords.com. Cohen is at
Dizzy’s Club Jan. 26th-30th as part of a Toots Thielemans
tribute. See Calendar.

Cowherd’s early teacher and mentor Ellis Marsalis,while “Little Scorpio” is a sweet and tender song
dedicated to Cowherd’s young daughter. The closing“Quilt City Blues” is a gospel-tinged solo piano feature,
written for Cowherd by Blade, which most closely
approximates the brand of folk and Americana jazz at
the heart of their work in the Fellowship Band.
There is a warmth and subtle joy to this album
evolving from the camaraderie of the musicians, allmasters of their craft. Here is hoping Cowherd returns
as a leader more often.
For more information, visit lecoqrecords.com. Cowherd is atVillage Vanguard Jan. 31st-Feb. 5th. See Calendar.

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

Tuesdays: 8 pm-12 am
Jam Session with Diego Voglino
Wednesdays: 8 & 9:30 pm
Jaleel Shaw (Jan. 4th)
Jon Gordon (Jan. 11th)
Spike Wilner (Jan. 18th)
Troy Roberts (Jan. 25th)
Thursdays: 8 & 9:30 pm
Adam Kolker, Jeremy Strattonand guests
5 - 7 pm
Happy Hour with Marta Sanchez

HYAKU:ONE HUNDRED DREAMSSATOKO FUJII’S 100TH ALBUM AS A LEADER

Pride and Joy (with Brian Blade & John Patitucci)
Jon Cowherd Trio (Le Coq)
by Joel Roberts

P ianist Jon Cowherd flies mostly under the radar, buttravels in some high-flying company. As a sideman, he
has toured and recorded with a wide array of big-time
pop and jazz artists, including Joni Mitchell, Iggy Pop,
Cassandra Wilson and John Scofield. He is perhaps
best known for his long association with drummer
Brian Blade, with whom he co-founded the FellowshipBand some 25 years ago.
Cowherd seldom releases albums under his own
name, so his new outing, with Blade and bassist John
Patitucci (both former members of Wayne Shorter ’s
formidable quartet) is a rare treat. His ties with
Patitucci also run deep, with the two having toured
together in the early 2000s and joined forces on
Cowherd’s 2013 leader debut Mercy. The trio isaugmented on several tracks by ace tenor saxophonist
Chris Potter and former Weather Report percussionist
Alex Acuña.
Opener “Grand Mesa” was inspired by Cowherd’s
recent move from New York to Colorado and evokes
the wide open spaces of his new home via Potter ’ssoaring saxophone. An imaginative and technicallyadvanced keyboardist, Cowherd pays tribute to someof his jazz piano heroes on a couple of tracks:
the plaintive “Plainfield”, named for the New Jersey
hometown of Bill Evans; and the upbeat “Chickmonk”,
a Patitucci composition dedicated to his former boss
Chick Corea, which showcases dazzling interplay
between the trio members.
“Honest Man” is another tribute, this one to

26 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

Featuring Satoko Fujii, Ingrid Laubrock,Sara Schoenbeck, Wadada Leo Smith,Natsuki Tamura, Ikue Mori, Brandon Lopez,
Tom Rainey, Chris Corsano“... one of the finest New York pick-up bands
ever assembled, in an inspired performancefor the ages.” — Ken Micallef, DownBeat“A masterpiece.” — Phil Freeman, The Wire
Now available at:librarecords.com/sne/store.html
squidco.com
downtownmusicgallery.com
This record is made possible by the
support of Robert D. Bielecki Foundation

THE NEW YORKCITY JAZZ RECORDBEST OF 2022
LIVE ALBUMSOF THE YEAR

Generations
Steve Turre (Smoke Sessions)by George Kanzler

There is an elegiac/nostalgic dimension to thisimpressive album from trombonist Steve Turre. Fourtracks are dedicated to and inspired by musicians who
influenced and/or worked with him while some of thesix evoke specific bygone eras or musical styles. The
title refers to the three age groups of musicians Turre
has enlisted: he counts himself as an Elder, along withbassist Buster Williams, drummer Lenny White andguitarist Ed Cherry; his Next-in-Line are tenor
saxophonist James Carter and bassist Corcoran Holt;and he calls the remaining musicians The Youngsters—
trumpeter
Wallace
Roney,
Jr.,
tenor/sopranosaxophonist Emilio Modeste, pianist Isaiah Thompson,
drummer son Orion Turre, percussionist Pedrito
Martinez and the four reggae musicians on one track.
As a composer Turre displays a wide command ofjazz genres on nine tracks, as well as creative arranging
on the one standard, Jerome Kern-Otto Harbach’s 1933
“Smoke Gets In Your Eyes”. Turre’s reference is The
Platters’ hit ‘50s version, from which he borrows the
6/8 feel, adding a Latin clavé beat in a sinuous open
trombone-with-rhythm version. As a player he boasts
a robust open horn on hardbop, blues and Latin-

N

U

EW

SE
D

236 West 26 Street, Room 804
New York, NY 10001
Monday-Saturday, 10:00-6:00
Tel: 212-675-4480
Fax: 212-675-4504
Email: jazzrecordcenter@verizon.net
Web: jazzrecordcenter.com
LP’s, CD, Videos (DVD/VHS),Books, Magazines, Posters,
Postcards, T-shirts,
Calendars, Ephemera
Buy, Sell, Trade
Collections bought
and/or appraised
Also carrying specialist labels
e.g. Criss Cross, ECM, Enja, ESP,
Fresh Sound, High Note, Pi, Savant,Sunnyside, Venus and many more.

oriented tracks. His solo on the AfroLatin “Good
People” is what Latin jazz trombone is all about. He
also plays evocative plunger-muted trombone on“Dinner with Duke”, furthering the Ellington-ian feelby having Roney (on Harmon-muted trumpet) play
obbligati to his plunger solo. The trumpet-trombone
colloquy, reminiscent of Turre’s time as the other hornin trumpeter Woody Shaw’s quintet, returns on“Flower Power”, his spacey take on the hippie ‘60s,
open trombone with trumpet obbligati, then trumpet
interjections behind his solo on seashells.
Turre the hardbopper is recalled on tracks
honoring pianist Cedar Walton, “Planting the Ceed”,
and “Pharoah’s Dance”, conjuring tenor saxophonist
Pharoah Sanders as well as the spirit of pianist McCoy
Tyner. On a ballad, “Sweet Dreams”, he enlists Carterto invoke one of his earliest employers, Rahsaan
Roland Kirk. The Elders appear on a Jazz Messengersinspired funky backbeat shuffle blues “Blue Smoke”
while “Don D.” is a reggae authentic evocation oftrombonist Don Drummond of the legendary Jamaicangroup The Skatalites, enlisting a reggae rhythm section.
For more information, visit smokesessionsrecords.com. This
project is at Dizzy’s Club Jan. 11th-12th. See Calendar.

Someday
Marc Copland Quartet (InnerVoice Jazz)
For All We Know...
Bill Kirchner (with Carol Fredette andMarc Copland) (Jazzheads)
by Robert Bush

Does anyone need to hear another version of theMiles Davis workhorse “Nardis?” Well, when thesecats are involved, the answer is yes. Verheyen comesout with silky smooth tones, reminiscent of Stan Getz,
each note lingering favorably in the listener ’s ear.
Copland’s solo manages to find new ideas in thewell-worn form, pulling his bandmates into a higher
aesthetic. Gress wraps it all up in a resonant bow andsomehow the listener experiences the tune’s inherent
beauty, as if it hadn’t been recorded on hundreds ofprevious sessions.
On a completely different note comes For All We
Know, a trio session led by soprano saxophonist Bill
Kirchner with the late vocalist Carol Fredette. One isstruck by the relatively unusual instrumentation, butthese three make for a very simpatico vibe during thisconcert, recorded on Apr. 17th, 2013 at NYC’s The
Players venue.
Fredette has a deep, smoky voice, with excellent
intonation and a welcome lack of histrionics. They
open with Cole Porter ’s “All of You” and, after
Fredette’s opening vocal, Copland transforms hissparse accompaniment into a veritable symphony;
all of a sudden, this doesn’t come off as “unusual
instrumentation” at all. Kirchner has his own stamp on
the straight horn and his history with Fredette pays big
dividends.
It all comes together on the title track, the 1934
ballad penned by J. Fred Coots- Sam Lewis. Fredette’s
slow-burning vibrato and dramatic storytelling leading
to a brilliant recapitulation from Copland and aheartbreaking soliloquy from Kirchner.
For more information, visit innervoicejazz.com andjazzheads.com. Copland is at Mezzrow Jan. 6th-7th. See
Calendar.

Marc Copland has been one of the brightest lights inthe jazz piano world for at least the last 30 years.
A favorite of late giants like bassist Gary Peacock andguitarist John Abercrombie, he is both a masterfulplayer and a virtuoso listener. That listening virtuosity
informs just about every release he has been associatedwith and his dates as a leader reinforce his popularity
as a sideman.
His latest project Someday is a sublime quartet
session with Belgian saxophonist Robin Verheyen,longtime bassist Drew Gress and drummer Mark
Ferber. The title of the album is a contraction of theLarry Morey-Frank Churchill classic “Someday My
Prince Will Come”, the 1937 ballad from Snow White,
opening the disc. Copland leads off with halting
delicacy while Ferber ’s brushes enter sounding more
like a lawn sprinkler than the clichéd aesthetic. Gressalways manages to sound like his instrument is 10-feettall, he has such a huge, woody sonic. Verheyen’s tenor
is all warm breath and honey and his contribution iscaressed by the intimate support of the leader.
The aptly titled Copland original “Spinning
Things” is next, anchored by a vamp in the bass,
the melodic invention of Verheyen swirling in tightcurlicues over Ferber ’s insistent rimshot. Coplandconstructs a masterfully patient and instructive solo
covering lots of territory without a hint of overplaying.
As always, Gress is a marvel, his whole notes singing
with depth and clarity, which makes his judicious
velocity even more exciting.
They even tackle Thelonious Monk’s “Let’s CoolOne” in their own fashion. Verheyen switches tosoprano, conjuring up a blend paying respect toboth Steve Lacy and Wayne Shorter (not a bad
combination), Copland doesn’t mimic any of Monk’s
mannerisms (except, perhaps, to the idea that ‘less ismore’) and Ferber trades 8s at the end with tightly
explosive episodes.

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 27

DROP THE NEEDLE

Listen!
Yvonnick Prené (Sunnyside)by Dan Bilawsky
Four!
Hampton Hawes, Barney Kessel,
Shelly Manne, Red Mitchell (Contemporary-Craft)by Pierre Giroux

For the 65th anniversary of this Jan. 27th, 1958

recording, Craft Recordings reissued the original Roy
DuNann engineered session, now pressed on 180gram vinyl featuring all-analog mastering from theoriginal tapes by Bernie Grundman. Four! is marvelous
bop-oriented West Coast jazz by the under-appreciatedpianist Hampton Hawes, accompanied by a top bandof guitarist Barney Kessel, drummer Shelly Manne
and bassist Red Mitchell.
Hawes was born and raised in Los Angeles andremained a West Coast resident during his lifetime.
He was self-taught and while he may not have been
considered a prodigy, he was seriously talented. At 19
he joined the Howard McGhee Quintet that included
Charlie Parker, who subsequently became a very
influential figure in Hawes’ life. He was especiallystruck by Parker’s conception of time and thus began
to experiment with the use of various time signatures
throughout his improvisations. By 1958, Hawes
already had a number of highly regarded trio andquartet sessions with recognition coming via awards
in 1956 from DownBeat magazine “New Star of theYear” and Metronome Magazine “Arrival of the Year”.
Four! is a wonderful example of all those stylistic
traits epitomizing Hawes’ most compelling work of
the period. It opens with Parker’s “Yardbird Suite” infull flight, Hawes stating the bop line, Kessel thenpicking up the melody in smart fashion before Hawes
comes back in, showing his robust, vigorous stylewith a stream of single notes. With the various
interchanges taking place, this track is a perfect
introduction to the rest of the session. Mack GordonHarry Warren standard “There Will Never Be AnotherYou” is another uptempo romp with Hawes stating
the theme before heading into a long solo, his
authoritative touch on full display. Kessel’s following
solo has his usual smoothness. The side closes with
Mitchell’s “Bow Jest”, which starts with a long bowedbass solo, after which Hawes and Kessel both havetheir say, full of skillful pacing and invention.
Hawes did very little composing, but one of hispieces is “Up Blues”, which is blues more in namethan in style. It jumps along at breakneck speed, fullof his split-second sense of timing. Kessel picks up
the challenge and delivers a shimmering storm ofnotes completing the picture. While it is evident thatHawes’ preferred choice of tempo is “up”, he doesdeliver a ballad with panache and feeling in a brief
rendition of “Like Someone In Love”. The album
closes with “Love Is Just Around The Corner” in a
midtempo mode. Hawes covers the keyboard in his
usual fashion, free of any blurred notes or unintended
choices. His comping under Kessel’s solo is tastefuland supportive. Manne’s brushwork is particularly
effective throughout the number. For those readers
who may be unfamiliar with Hawes’ work, this may
be as good a place as any to jump in, especially given
the quality of this reissue.
For more information, visit craftrecordings.com

Since coming to New York City some 15 years ago,

French harmonica player Yvonnick Prené has made his
presence felt with several leader or co-leader dates(plus sideman appearances on over 20 recordings).
Starting out with 2013’s Jour de Fête, a debut establishinghis voice as an instrumentalist, composer andinterpreter, he began to turn heads. And withsubsequent releases, Prené came to be seen as a risingstar. There was Wonderful World, delving into gypsy
jazz and pairing him with Padam Swing; a meetingwith guitar virtuoso Pasquale Grasso in tribute to jazzharmonica trailblazer Toots Thielemans; a session
under the banner of Breathe with organ player Jared
Gold, guitarist Peter Bernstein and drummer Allan
Mednard; and New York Moments’ embrace of The Big
Apple with organ player Brian Charette and drummer
Jordan Young. Each of those records offered a different
slant and format, but all were united through Prené’ssophisticated and soulful lead. Now, adding to thatvariety, he fronts a killer fivesome on a stellar session
produced by trumpeter Jeremy Pelt.
Sharing the frontline with tenor saxophonist Dayna
Stephens over a top-tier rhythm section in pianist Kevin
Hays, bassist Clovis Nicolas and drummer Bill Stewart,
Prené presents a slate of memorable performances.
Opening on Nicolas’ arrangement of Miles Davis’ “Dig”,
the leader immediately illustrates how his axe is aperfect substitute for trumpet in a two-horn frontline.
Then he looks to his own work with bright-tempo blues
waltz “Mystic Minor”, a swinging soiree in “The Dip”
and the funky and angular “Boosted”, those consecutive
offerings showcasing Prené’s writing.
Moving forward with Lorin Cohen’s gorgeous“Just Have Faith”, the leader has an opportunity toreprise his role on a piece that often spotlighted him inthat bassist’s band. Then Pelt makes his lone guest
appearance on an intriguing Steven Feifke arrangementof “Seven Steps to Heaven”, the man in charge
captivates with tenderness on torch song “She’s Funny
That Way” and the quintet signs out with Jack King’s
snappy “How Am I to Know?”. With the strong program
Prené has put together, Listen! truly lights up a room.
For more information, visit sunnysiderecords.com. Prené isat The Django Jan. 23rd. See Calendar.

BeyondI Am: Isaiah Collier/Michael Shekwoaga Ode(Division 81)
by Phil Freeman

I AM is the un-Googleable name saxophonist Isaiah

Collier and drummer Michael Shekwoaga Ode havegiven their duo project. The two already play together
in Collier’s band The Chosen Few, whose 2021 album
Cosmic Transitions was one of the best albums of that

28 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

year in the so-called “spiritual jazz” genre. Available asfive individual tracks or a single 56-minute marathon,
the album recalled John Coltrane’s work in the final
year of his life as well as later efforts by Pharoah
Sanders and had the rough and ready production of an
Afrocentric out-jazz disc from the early ’70s; it could
have been a lost set from the Strata-East or India
Navigation catalogues, if not some self-released artifact.
Even on that record, the relationship between
Collier and Ode was key; the others, pianist Mike Kingand bassist Jeremiah Hunt, often seemed swept alongin their wake. Here, with just the two of them going at
it for a solid hour (save for a short intro, with gongs
and chanting from sound healer and therapist Jimmy
Chan), the experience is even more overpowering.
Collier is a forceful player whose style is somewhat rifforiented, playing variations on a phrase over and over,tweaking the harmonics slightly on each pass, notunlike Shabaka Hutchings or James Brandon Lewis oreven the late David S. Ware. He is capable of mustering
all the wailing power of Ware or Charles Gayle, butwith an added element at work: the production ofSonny Daze, who adds a shimmer of reverb to make thehorn sound like it is transmitting from one half-stepoutside our reality. Sometimes, as on “Confessions Of
The Heart”, a dubby echo effect is added. Ode’s
rhythms are positively thunderous, often more linked
to tribal and trance than the free jazz slicing and dicingof time that one could expect from a spiritual jazz saxdrums duo disc. On “Bend The Universe (Trust With
All Your Heart)”, his tom rolls are the perfectcomplement to Collier’s soaring, skyward cries.
For more information, visit division81records.bandcamp.com.
Collier and Ode are at Nublu 151 Jan. 13th as part of WinterJazzfest. See Calendar.

MARTIN WIND - NY BASS QUARTET

THE NEW YORK CITY
JAZZ RECORDBEST OF 2022
best new releases honorable mention

Bill Milkowski/DownBeat Magazine

For orders go to
www.martinwind.com/air(U.S. Only) or
www.laika-records.com.
Also available on iTunes,
Amazon.com, Bandcamp etc.
Watch the trailer:
https://www.youtube.com/
watch?v=KycyUDJkRes

Bassist/composer Martin
Wind introduces the“New York Bass Quartet”
on his latest release“Air” (Laika Records).
The band features thetalents of Gregg August(Grammy-Award-NominatedComposer and Bandleader),Jordan Frazier (Principal
Bassist Orpheus Chamber
Orchestra) and Sam Suggs(International AwardWinning Soloist), plus
guests Gary Versace (keys)
and Matt Wilson andLenny White on drums.
“…a tour de force. Each of themembers are virtuosos on the double
bass… this recording has raised the bar
to a higher level for the 21st Century
Double Bass community and music lovers,
alike. BRAVO GENTLEMEN! I loved it!”
-Rufus Reid/Jazz Bassist/Composer“Imagine an album on which four bassists
and some guest musicians dare to play
exceptionally difficult arrangements and succeed thanks to their outstanding
skills. Well - stop just imagining it.
Because this album is the sounding proof
that it can succeed.”-Ron Carter/Jazz Bass Legend

MARTINWIND.COM | LAIKA-RECORDS.COM

IN PRINT

Jazzwise Presents...
The 100 Jazz Albums That Shook The World
Edited by Jon Newey (Jazzwise)by Andrey Henkin

If we learned anything from Donald Trump’s

presidency, it is that hyperbole works. People like to
get whipped into a frenzy over the best, worst,
hugest, smallest, most beautiful, saddest things in allof recorded history. Which is why The 100 Jazz Albums
That Shook The World, published by the British journal
Jazzwise, is, despite its somewhat incendiary title,
instead, surprisingly thoughtful and inclusive. There
will always be arguments over what does or does notmake the cut in these kind of retrospectives but thispublication does better than most. The concept ispresented in reverse order, from #100 (Loose Tubes’
Delightful Precipice) to #1 (Miles Davis’ Kind of Blue,
hardly an upset with him gracing the cover). More
importantly, each one has a valuable explanatory
essay by the editors and contributors of Jazzwise,
especially important for American readers woefully
undereducated about players overseas.
A good way to approach judging a book like thispast its cover is a quick statistical analysis. The
albums herein span the 1920s into the first two
decades of the new millennium. Slightly more thanhalf come from the ‘50s-60s, indisputable as the glory
days of jazz recording. But unusually the next
highest-ranking decade is the ‘70s, usually passed
over for the ‘80s. Saxophone-led albums are thebiggest instrument represented with 29, followed by
21 pianists. As far as labels, the big shock is that
Columbia has more entries than Blue Note, 15 to 14,
with Impulse! a distant third at 8. The remaining 63
are split among over 35 labels, which speaks torefreshing breadth. From a geographic standpoint,
things are predictable, over 80% of the artists being
American, followed by just under 10% being Britishborn or residing players (one imagines a French or
German magazine would probably include about thesame number of its indigenous musicians). Gender
too is what one would expect: 91 men to only 9
women. As far as specific artists, Davis leads withfive entries, followed by John Coltrane’s four, with
only Charles Mingus, Duke Ellington, Ornette
Coleman and Thelonious Monk with two apiece.
Taking a look more subjectively, this reviewer
was thrilled with the inclusion of the Art Ensemble ofChicago, Joe Harriott, John Surman/John Warren,
Krzysztof Komeda, Mahavishnu Orchestra, Mike
Westbrook, Roland Kirk and Tubby Hayes, figuresoften overlooked in ranked jazz histories. On theother hand, it is too soon to say whether some newer
artists like Kamasi Washington (#98) would make itinto an edition published a decade hence. And if one
can quibble: 13 albums are not technically single
releases but compilations of recordings over a periodof time, and the only non-singing woman is Maria
Schneider, definitely an oversight for a bookpublished in 2022. Setting that aside, this is a valuableaddition to any discerning jazz listener’s bookshelf.
For more information, visit jazzwise.com/features/
article/the-100-jazz-albums-that-shook-the-world

LongGone
Joshua Redman/Brad Mehldau/
Christian McBride/Brian Blade (Nonesuch)by Tom Greenland

Back in 1994, tenor saxophonist Joshua Redman

marshaled his (then) young lion peers—pianist Brad
Mehldau, bassist Christian McBride and drummer
Brian Blade—for an eponymous quartet, releasing
MoodSwing, then touring for a year and a half.
Fortunately/unfortunately, the talent glut made it
inevitable members would pursue independent paths,
but nostalgia for the musical chemistry mandated abelated but most welcome reunion: first with 2020’s
RoundAgain, most recently with LongGone, a set ofRedman originals recorded in the studio plus a live
track from the 2007 San Francisco Jazz Festival.
The album treads familiar mainstream jazz territory,
Redman and Mehldau the primary soloists (though
McBride takes a masterful turn on “Ship to Shore”),
McBride and Blade in supportive roles, though thatshould in no way demean their Prometheancontributions. Redman, a conceptual, motivic player
along the lines of Sonny Rollins or Dexter Gordon (hisvery first solo begins with a quote of “Star Eyes”) adds
bluesy inflections and a dash of theatrics, employing a
supple, unforced tone and long, horn-spanning lines
with offhand endings. His work on the classicallytinged “Statuesque”, skipping, tumbling “Ship to
Shore” and modal romp “Rejoice” are high points.
Mehldau, equally inventive, is an apt counterweight:
more through-composed, he shifts large sprawling
shapes through changing harmonies with strong swing
and sparkling tone. Listening to him on “Ship to Shore”
one can imagine Mozart working a blues, but he is evenmore ingenious on the extended “Rejoice”. His interplay
with Redman is relaxed, empathetic. Blade cruises justbelow the radar, so you may miss his nimble signals, butclose listening reveals a dynamic communicator,
particularly on the live cut, where McBride plays
everything but the expected walking basslines, both
serving up serious, unconventionally conventionalswing. Without breaking new ground, Redman’s supergroup proves that retreading old turf with equal parts
finesse and fire can provide more than ample satisfaction.
For more information, visit nonesuch.com. Mehldau andMcBride are at Village Vanguard Jan. 24th-29th. See Calendar.

Hope
Yaniv Taubenhouse (Fresh Sound-New Talent)by Tom Greenland

In an age of short, rapidly shifting attention spans,

when music fans surf streamed services to sample
myriad song-bytes, hoping one will sustain theirattention, Yaniv Taubenhouse’s Hope, the sixth album
in his catalog but first solo effort, asks a longer listen.
The Israeli-American pianist—trained at Tel
Aviv’s famed Thelma-Yellin arts high school, moving

30 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

stateside 2009, settling in New York City in 2013—hasa strong affinity and respect for the natural resonanceof his instrument. Over years he has developed a styleof lithely interlaced left- and right-hand parts: the low
left-hand harmonies spilling out one note at a time invarious figurations, never laying down the pulse but
rather filling in cracks between higher melodic phrases,
producing a thick yet transparent texture, like the
combined warp and weft of woven fabric, each strand
supporting without suppressing the other.
There are four covers—Cole Porter ’s “It’s Alrightwith Me”, Kenny Wheeler ’s “Consolation”, Thelonious
Monk’s “We See” and Henry Mancini’s “Two for theRoad”—and six originals, including a three-part suiteat the beginning, middle and end, respectively, of thealbum. An interesting aspect of Taubenhouse’s style ishis predilection for chord substitutions withinrecurring progressions, inserting chromatic and/or
tonal (i.e. Major/minor) variations, letting new tones
sustain as more are added, leaving space to linger onthese alternate colors. His right-hand melodies are
relatively subdued, relaxed, often gently syncopated,part of the overall tapestry, though occasionally his
ideas soar up, loitering in the upper register withsparkling lucidity and “We See” shows his skill at
hardbop improvisation.
His distinctive treatment of the tunes permeates
the project, lending cohesion to otherwise disparate
material. So if you have got time, more than a soundbyte, for a leisurely walk around the park or long drive
upstate, this album could be just the ticket for an
extended, immersive, ultimately rewarding listening
experience.
For more information, visit freshsoundrecords.com.
Taubenhouse is at Saint Peter’s Jan. 29th. See Calendar.

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UNEARTHED GEM

Live at Parnell’s
Jack McDuff (Soul Bank)by George Kanzler

T his recording documents a bygone era of jazz,when Black neighborhoods in cities around thecountry included jazz club/lounges, stages often
dominated by a Hammond B3 organ andrefrigerator-sized Leslie speaker. Masters of the B3,
over a dozen ranging from hardbopper Jimmy
Smith to bluesman Jimmy McGriff, toured thoseclubs, known as the “Chitlin’ Circuit”, from the‘60s through the early ‘80s, before hip-hop
dominated the scene.
One of those B3 masters was Jack McDuff, whodied 22 years ago this month at 74 and was often
called “Captain Jack” because of the yacht skipper
hats he always wore. One of the more orchestrallyminded B3 players, McDuff led a quartet, providing
the bass bottom as well as orchestral organ-cumbig band sounds.
When these recordings were made in 1982 theband included Danny Wollinski (alto saxophone),
Henry Johnson (guitar) and Garrick King (drums);
this is its only documented appearance. By then
McDuff had been on the Chitlin’ Circuit for a
decade and half. Actually 1982 was one of the last
viable years of what was a rapidly declining circuitof urban jazz clubs.
It is astounding that we actually have thisrecording, a document of jazz as it was played on
the Chitlin’ Circuit. Parnell’s was a small jazz club/lounge in Seattle, Washington (capacity about 125)
and this CD comes to us from cassette recordings
made by the club’s sound engineer. The tapes wereacquired by Greg Boraman of Soul Bank 20 years
ago but it has only been recently that digitalremastering has been developed to the point where
this album’s restoration was possible.
The tracks are typical of the mix of blues, rifftunes, jazz classics and covers of current soul music
and R&B making up the repertoire of most B3
players of the time. But no matter what the tune
being played, the game was all about propulsion,
the soulful drive emanating from the churning B3
amplified through the Leslie, spurring and spurred
on by the emphatic drumming and comping andsolos of the other bandmembers.
No matter what the material happens to be,from the medieval folk song “Greensleeves” to the
Dionne Warwick hit “Deja Vu” to the bop classic“A Night In Tunisia”, McDuff and company turn it
into romping, stomping soul jazz. “Deja Vu” rides
along on repeated iterations of the song’s catchy
melodic hook, turned into a jazz riff by the B3 while
the six-peat kicker of “A Night in Tunisia” becomesa launching pad for each soloist.
At times McDuff takes a page from Erroll
Garner ’s book, beginning familiar tunes with apuzzling feint, a ploy most prominent in his long,semi-rubato intro and coda to Benny Golson’s“Killer Joe”. But whatever the tune, it moves withsoul-jazz drive.
For more information, visit soulbankmusic.bandcamp.com

The Quietly Clouds And A Wild Crane
Yuji Takahashi/Sabu Toyozumi(Chap-Chap - NoBusiness)
Seishin-Seido
Mototeru Takagi/Kim Dae Hwan/Choi Sun Bae(Chap-Chap - NoBusiness)by Stuart Broomer

S ince 2017 Lithuanian label NoBusiness has formed apartnership with Japanese imprint Chap-Chap torelease vintage recordings of performances presented
and recorded by producer/writer Takeo Suetomi, amajor figure in the documentation of Japanese freejazz and improvised music. The latest releases suggest
both the range and depth of the music involved.
The Quietly Clouds And A Wild Crane is a duo
performance by pianist Yuji Takahashi and drummer
Sabu Toyozumi, recorded in Yamaguchi City in 1998
with both contributing additional percussion. The
latter, who turns 80 this July, may be immediatelyfamiliar to enthusiasts of free improvisation from his
recordings with significant figures in Western free
improvisation; the Chap-Chap series includes duos
with Swedish saxophonist Mats Gustafsson, late
British trombonist Paul Rutherford and trumpeter
Wadada Leo Smith. A student of Iannis Xenakis,
Takahashi, now 84, is both a distinguished composer,
whose work ranges from protest songs and classicalgenres to electronic music, and an outstanding concert
pianist who has recorded works from Bach, Satie andSchoenberg to Rzewski and Takemitsu. His Messiaen
recordings include Visions de l’Amen for two pianos
with Peter Serkin.
The breadth of those collective associations
comes through strongly in the program, two extended
improvisations entitled “Lovely Silver 6000 km” and“Shoulder Blade and Hip Joint”, the former
approaching 34 minutes, the latter 30. Dreams ordances,sometimes
expressionist,
sometimes
impressionist, they are suffused with a kind of light,
whether it is the contrast of rhythmic patterns thatToyozumi builds from the different elements in his kit
to the way Takahashi, at one point, contrasts dense
and dissonant clusters in the bass register withsparkling consonance in the treble.
That the various titles suggest both impressionism
and immediate physicality is entirely in keeping withthe music’s bright complexity and rich playfulness.
While Takahashi can throw off fractured runs withthe lightness of water drops and flower petals,
Toyozumi matches that with a passage on “Shoulder
Blade and Hip Joint” making extended use of
birdcalls, whether accomplished with sheer oraltechnique or a dedicated device.
Seishin-Seido documents a meeting between two
branches of Asian free jazz, the Korean and theJapanese, captured during a 1995 visit to Japan by latedrummer Kim Dae Wan (62 at the time) and trumpeter
Choi Sun Bae (then 55). They are heard here withtenor saxophonist Mototeru Takagi (who died in
December 2002 at ~60) in a performance from Café
Amores in Hofu City (where a number of Chap-Chapalbums were recorded). Each has a strongly developed
instrumental voice and the performance gives freerein to a duet and solo pieces.
The opening title track is a dovetailing duetby Choi and Takagi, whose stylistic compatibility isimmediately evident, though their personalities tend
to invert the usual free jazz balance of tenor saxophone
and trumpet. Takagi has a strong Albert Ayler
influence in his wandering, vocalic lines, but with a

32 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

slightly muffled, personal sound; he may be thegentlest of post-Ayler tenor saxophonists. Choi, for
his part, is as aggressive as a free jazz trumpeter canget, with whistling, bending runs descending fromthe upper register, a genuine wake-up call.
There then follows a series of three solo pieces
that take up approximately half of the 67-minuterunning time. The first and longest is Kim’s 14-minute“Natural Sound”, a masterpiece of rhythm, timbre
and mood, which makes the most of his unusual kit:
played standing, on the evidence of booklet
photographs, and employing what appears to be ahorizontal bass drum, another resembling a shallow
timpani and a large cymbal played with sticks andmallets in each hand. At other points in theperformance, he shows his flexibility by employing
woodblocks as a principal instrument. The solos by
Takagi and Choi are similarly rich: each has a keen
formal sense near his expressive core.
The full trio eventually arrives with “Ethyopia”
and it is a genuinely interesting ensemble, the absenceof bass or keyboard giving it a kind of expressionist
minimalism matched to an air of necessity, somethingthat emphasizes further the Ayler connection and alsoa corresponding sense of traditional New Orleansbands. The concluding “Step by Step” develops withshort echoing horn phrases over turbulent, complex
percussion, with saxophone approaching trumpet’s
intensity. There is, however, a sustained and shifting
upper-register wail in which trumpet fully enters thecomplex, flexible range of a reed instrument.
The performance appears to have been sufficiently
inspiring for Takagi later to play with Choi and othersin Korea.
For more information, visit nobusinessrecords.com

FRESH SOUND NEW TALENTPRESENTSYANIV TAUBENHOUSE PIANO“Perhaps one of the more honest tonal narratives to date, Hope never denies the promise andpoetry inherent in us all.”—Mike Jurkovic, All About JazzJEONG LIM YANG BASS withSANTIAGO LEIBSON PIANO GERALD CLEAVER DRUMS“An awful a lot of boldness and a big modern
lean going on back in mid-twentieth century.”—Dan McCleghan, All About Jazz
AVAILABLES ON FRESHSOUNDRECORDS.COM, AMAZON, iTUNES & SPOTIFYIN MEMORIAM
EMMANUEL ABDUL-RAHIM
KATSUYA ABE
BEEGIE ADAIRMADELEINE ALBRIGHT
CLIVE ZANDA ALEXANDER
JEAN-PAUL AMOUROUXJÖRN ANDERSERNIE ANDREWSTOM ANDREWSREGGIE ANDREWS
IÑAKI AÑUAPOUMY ARNAUDJULIO ARNEDOAQUILES BÁEZGABE BALTAZAR
THOMAS BANHOLZERJOE BAQUECARLOS BARBOSA-LIMA
BRIAN BARLOWBOB BARNARD
JOHN BARNESMARK BARNETTHANK BARTELSMICKEY BASS
LAWRENCE BATISTEEDDIE BAYARD
JÖRG BECKER
CLARENCE BECTON
BEN’S BELINGAJEAN BÉMERMARILYN BERGMAN
WARREN BERNHARDTBRIAN BLAIN
ALLEN BLAIRMANGASTON BOGAERTJAIMIE BRANCHPAT BRITTHENRY “PUCHO” BROWNVERNELL BROWN, JR.
LEN BRYANTROMAN BUNKOGIORGIO BURATTISONNY BURKEJOE BUSSARD
TED BUTTERMANCALVIN O. BUTTS
DOUG CALDWELLLOU CAPUTORAY CARLESSTONY CARPIO
NEAL CHANDEKMIGUEL ÁNGEL CHASTANG
JEAN-LOUIS CHAUTEMPSJERRY CHAZEN
DAVID ORNETTE CHERRYGENE CIPRIANOKENNY CLAYTONROBERT “DR. JAZZ” COHENMONTEZ COLEMAN
JEAN-LOUIS COMOLLILAINIE COOKEROZ CORRALJOSÉ LUIS CORTÉSDARRELL CROOKSRONNIE CUBER
TULIVU DONNA CUMBERBATCH
MIKE CURRAOJOE DALLAS
MARC DANVALBETTY DAVISROBERT MERLIN DAVISEDDIE DE HAASPOLO DE HAAS
BILL DE KUIPERCHUCK DEARDORF
CAPRIEL DEDEIAN
JOEY D e FRANCESCOBOB DEMEO
VINCENT D e ROSAHERBERT DEUTSCH
CHARLIE DEVOREBOB DIETSCHEJOE DIORIOWOLFRAM DIXGERD DUDEKFIONNA DUNCANBRIAN DUNNING
ROGER ECKERSBÖRJE EKBERG
CHARLES EUBANKSVICTOR EVANS
BILL FAIRBANKS
MAFFY FALAYMARVIN FALCONMARK FELDMAN (PRODUCER)ANTON FIER
WÅGE FINÉRGUISEPPE FINOCCHIARO
MAL FITCHCHUCK FOLDSDONATO FORNUTOELI FOUNTAINDAVID FRASERPETE GALLIORAY GASKINSCHARLES GATT
OLIVER GATTRINGERJÓSEF GAWRYCHCHRISTOS GERMENOGLOUSTEVE GIARRATANOPAULO GILDENNIS GONZÁLEZ
MICK GOODRICK
CLAUDE GOUSSETDELLA GRIFFINTONY GULIZIAWOLFGANG GÜTTLERWÄDI GYSIPAUL HAAGRICHARD HADLOCKBENON HARDY
LEE J. HAROLDJIM HARRISONBILL HARTMAN
HANS HARTMANNMICHAEL HENDERSONCHARLIE HERSCHBACHROSETTA HINES-LOVINGJACK HITCHCOCKKEN HITCHCOCK
MORRIS HODARABRIAN HORTON
BRAŇO HRONECHEINZ HUBERERIC JACKSONKHAN JAMALJEAN JAMINCONRAD JANISZBIGNIEW JAREMKO
PAULO JOBIMDARREIL JOHNSONSY JOHNSONELAYNE JONESKEIKO JONESMARVIN JONESREID JORGENSEN
FRANK KATZBILLY KAYE
JOEL KAYEMARK KERESMANRUSLAN KHAIN
ROY KUDRIN
ROLF KÜHNBÉLA SZAKCSI LAKATOSMIKE LANGROBERTO LECAROSMARK LEVINEDON LEWISRAMSEY LEWISPERRY LIND
NILS LINDBERG
LEE LORENZ
MEINHARD LÜNINGGEORGE MANCINIEMIL MANGELSDORFFWOODY MANNMADOSINI MANQINA
MAURICE MARTINEZROBERTO MASOTTIHÉCTOR “TITO” MATOSTINA MAY
IAN M c DONALD
BOB MEEKSJONI METCALF
ROGER MIDDLETON
RON MILESDAN MILLEREDANA MINGHELLASUE MINGUS
GILBERT MIRANDECHARNETT MOFFETT
OLEG MOLOKOJEDOVGRACHAN MONCUR III
BARBARA MORRISONJUAN JOSÉ MOSALINIKHALID MOSSJAMES MTUME
RYAN MUNCYJOHN MURPHY
ROBERT MWAMBAZBIGNIEW NAMYSŁOWSKIMICHAEL G. NASTOSBOBBY NAUGHTONCARLOS NEGREIROSDANIEL NEVERSRUNE NICOLAYSEN
ILKKA NIEMELÄINENZIMBABWE NKENYAJEREMY NOLLERHERBERT NOORDJOHN OBERBRUNNERJIM ODRICH

34 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORDANTHONY ORTEGA
HANS OTTSENANDRÉ PAGANELLISKIP PARSONSPHILLIP PAUL
PAOLO PIANGIARELLIJEAN-FRANÇOIS PICAUT
GIUSEPPE PINOFRANK PISCATELLA, JR.
BILL PITTMANPAUL PLIMLEYROMY POSADASJOEL PRESSSEYMOUR “RED” PRESSTIM PRICECHARLES REEDYWOLFGANG REISINGER
DERF REKLAWTOBIAS RENSCHETIENNE RICHARDGUILLERMO RIFOGARY RISSMILLERYVES ROCHESARA ROGERS
ADELHARD ROIDINGERBADAL ROYELLYN RUCKER
ART RUPEJORDI SABATÉSROY SAINSBURYPHAROAH SANDERSRENE SANDOVALGENE SANTOROSUSANNE SCHAPOWALOW
VICTOR SCHONFIELD
KLAUS SCHULZE
JEAN-JACQUES SEMPÉTERRY SHANNONPETER SHEAJARRITT SHEELMARTY SHELLER
JOHN HIRAM SHOOKKELLY SILLGEORG SMELIKPAVEL SMETÁČEK
ARNOLD JAY SMITH
DONALD SMITHNORMAN SODOMKA
PETE SOKOLOWRHODES SPEDALE
ANDREW SPEIGHTMEGHAN STABILEMILENKO STEFANOVIĆ
HOWARD STONEGÜNTER STOTZ
BEN STOWERSFREDY STUDER
MONETTE SUDLERDONNY SUHENDRABÉBÉ SUONGISAO SUZUKI
JOHN SWENSONBÉLA SZAKCSI LAKATOSJEAN-PIERRE TAHMAZIANJOANNE TARDYCREED TAYLORTERRY TEACHOUTYVES TEICHERBARBARA THOMPSONBUTCH THOMPSONJANET THURLOW
TREVOR TOMKINSCOLIN TULLYVÁCLAV TÝFAGRACE VALDEZFRED VAN HOVE
JACK VAN POLL
JEAN-LOU VANDERBORGHTDICK VENNIKDAGO VÖTTER
HANS-DIETER VÖTTERABDUL WADUDALVIN WALKER
MURRAY WALL
ERIC ALAN WANNENBURGPAUL WARBURTONYVONNE WASHINGTONRONNIE WATERSPAUL WEINSTEIN
BOB WEIRCHRIS WELLARD
RUDI WILFERJESSICA WILLIAMSLEROY WILLIAMSRALPH WILLIAMSMATTHIAS WINCKELMANNSERGE WINTSCHTERRY WOODSONBERNARD WRIGHTPAT YANKEE
CLIVE ZANDADAVID ORNETTE CHERRY (1958 Nov. 20th, 2022) The composer andkeyboard player (and son of Don
Cherry, working with his father since
his teens and appearing on his 1990
album Multikulti) released dates on
Elephant Tonga, Cherry Extract Musicand Spiritmuse. Cherry died Nov. 20th at 64.
GENE CIPRIANO (Jul. 13th, 1928 Nov. 12th, 2022) The prolific LosAngeles-based session musician had
hundreds of pop, TV and film credits
but also plenty of jazz work with Pete
Rugolo, Henry Mancini, Dave Pell, Pete
Candoli, Louie Bellson, Buddy Collette,
Cal Tjader, Stan Kenton, Jean-Luc Ponty, Dennis Coffey,
Nancy Wilson, Alice Coltrane, Toshiyuki Honda, Clare
Fischer and others. Cipriano died Nov. 12th at 94.
GERD DUDEK (Sep. 28th, 1938 - Nov.
3rd, 2022) The German saxophonist
was among the most significant
figures in the nascent European avant
garde of the ‘60s onwards, working
with Manfred Schoof, as a constantparticipantinAlexandervonSchlippenbach’s Globe Unity Orchestra, Peter
Brötzmann, Wolfgang Dauner, German All Stars,
Kühns Joachim and Rolf, Albert Mangelsdorff, Loek
Dikker, European Jazz Trio, Quintet and Ensemble,
Third Eye, The Quartet, Berlin Contemporary Jazz
Orchestra, Misha Mengelberg and many others andreleasing his own or collaborative albums since theearly ‘70s on Trio, FMP, Konnex, Psi, Laika, Shaa-Musicand Planet Jazz Cologne. Dudek died Nov. 3rd at 84.

PETER GANNUSHKININ MEMORIAM 2022

MICK GOODRICK (Jun. 9th, 1945 Nov. 16th, 2022) While the guitarist hada healthy discography as a leader/collaborator since the ‘70s for ECM, ITI,
CMP, New Sound Planet, RCA, RAM,
Material and other labels and sidemancredits with Woody Herman, Gary
Burton, Jack DeJohnette, Charlie Haden/Carla Bley,
Harvie S, Jim Hall, Carlo Mombelli, Laszlo Gardony,
Claudio Fasoli, Steve Swallow, Hal Crook, Jerry
Bergonzi, Greg Hopkins, Bruno Råberg and more, his
lasting impact is perhaps his decades of pedagogy at
Berklee College of Music, where his students included
John Scofield, Mike Stern, Bill Frisell, Julian Lage, Lage
Lund and many others. Goodrick died Nov. 16th at 77.
MICHAEL G. NASTOS (Apr. 4th, 1952
- Nov. 9th, 2022) The jazz radio DJ andcritic was a fixture on NPR affiliate
WEMU since the ‘70s and wrote for
AllMusicGuide, DownBeat, Hot Houseand other outlets. Nastos died Nov. 9th
at 70.
JOEL PRESS (1930 - Nov. 23rd, 2022)
The saxophonist/clarinetist was a
stalwart in his adopted base of Boston
from the ‘70s to the late Aughts,
composed frequently for dance andreturned home to New York in 2009,
performing regularly at Smalls andreleasing a handful of albums for Cadence Jazz. Press
died Nov. 23rd at 92.
RUDI WILFER (Sep. 14th, 1936 - Nov.
18th, 2022) The Austrian pianist was
active since the ‘60s, working with
Aladar Pegé, Charly Antolini and Erich
Kleinschuster and leading or co-leading
dates for RST and Gramolo. Wilfer diedNov. 18th at 86. v

Jazz In Der Kammer Nr.71
Peter Brötzmann/Fred Van Hove/Han Bennink (Trost)by John Sharpe

P erhaps the seminal European free jazz outfit, the trio

comprising German saxophonist Peter Brötzmann,
Belgian pianist Fred Van Hove (who died on Jan. 13th,
2022 at 84) and Dutch drummer Han Bennink, blazed
a trail for some nine years from 1966 onwards, although
their first album Balls wasn’t recorded until 1970. JazzIn Der Kammer Nr.71, culled from 1974 radio broadcast
tapes and newly issued by the Austrian Trost label asa double LP or single CD, presents 79 minutes of theband at the top of their game on their debut in East
Berlin, then still part of the communist German
Democratic Republic behind the Wall.
As always, the extraordinary music stems fromthe creative tension between three different
personalities pulling in different directions. Indeed
Brötzmann is on record as stating: “It was a fightbetween three heavyweights.” If Van Hove brought thebenefits of a classical education to the ring, Brötzmann,
then as now, was very much an autodidactic soundsculptor who traded in raw emotion. Even in thiscompany Bennink was the maverick, an agent
provocateur who combined swing, Dada theatricality
and noise with a devil-may-care attitude. The result
was a mercurial stream, which could be, by turns,
abrasive, whimsical, explosive or tender, often within
the space of a single piece.
Just taking the 22-minute “Boogie Fuer Fred” asan example: it starts with Bennink’s unconventional
percussion, where he is prone to draw rhythm fromalmost anything, in this case perhaps castanets, before
the trio kicks in. Van Hove, one of the early exponents
of prepared piano, unleashes a series of clanking
crashes, ushering in Brötzmann’s coruscating alto wailand a drum avalanche in just one of the many episodesof high-octane mayhem peppering the set. It eventuallysubsides into an exchange of cymbal textures andromantic piano musings, which somehow morph intoa lilting rendition of “Tulips From Amsterdam”,
an irony which Bennink further subverts with comicalkazoo-like calls. And so it goes on. Visceral stuff which
demands to be heard now as much as then.
For more information, visit trost.at

The Traveller
Khan Jamal (SteepleChase)by Ken Dryden

Khan Jamal, who died on Jan. 10th, 2022 at 75, wasn’t

usually one of the first names critics list among the top
vibraphonists in the history of jazz, despite work as
a leader, sideman and composer over nearly half acentury. Jamal was at home in many different styles andwhile this 1985 trio date, reissued as a limited-editionLP, is more straightahead, it is not without avant garde
flavor. Joined by South African bassist Johnny Dyani

and American expatriate drummer Leroy Lowe, Jamal
focuses primarily on his powerful originals.
The dissonant, very rhythmic “Thelonious” isan obvious tribute, a virtuoso effort that sounds like it
could have been inspired in part by Eric Dolphy’s “Hat
And Beard” on his Out To Lunch album with Bobby
Hutcherson. “Unsung Heroes” suggests a lively street
dance with a theme that could become an earworm,
Jamal’s introductory vamp leading to an engaging
improvisation. The vibraphonist chose “Equinox”,
a less frequently performed John Coltrane composition,
to pay tribute to the jazz master, walking bass and offcenter drumming fueling Jamal’s bluesy, spacey
exploration, making it clear this is an interactive trio
rather than leader supported by sidemen.
The timeless Johnny Green-Edward HeymanRobert Sour-Frank Eyton ballad “Body And Soul” is a
bit unusual due to Jamal’s extensive use of vibrato;
while he plays it at a typically slow tempo, the spacious
arrangement easily stands out from myriad predictableapproaches. Jamal’s title track begins with a funky
vamp, but doesn’t fall into the trap of getting stuck in
one place, the trio exploding as they take its simple
theme on a wild ride. “Bloom” is Jamal’s mostadventurous composition, his pyrotechnics and dense
chords making it sound like overdubbing was
involved—though it is all him in real time—with thebonus of Lowe’s extended solo feature.
For more information, visit steeplechase.dk

than that, astounding for Lewis’ ability to play keys ina way that creates a pianistic dance between every
note. “Rocky Raccoon” with its waggish intro has the
air of “gangsta”; a deep listen brings to mind the moodof Kurt Weill and “Mack the Knife”. More imagery iscreated in “Blackbird”, fairly quick in tempo, yetdrawing on blues roots, conjuring up bird flight.
Considering the popularity of The Beatles catalogue
over the years and the many covers thereof, Ramsey
Lewis’ delightfully intimate take is a solid, fresh
approach to the material and a fitting farewell froma master no longer with us.
For more information, visit ramseylewis.com

DROP THE NEEDLE

Karma
Pharoah Sanders (Impulse! - Verve/UMe)by Eric Wendell

On Sep. 24th, 2022, the world lost Pharoah Sanders

The Beatles Songbook(The Saturday Salon Series, Volume One)
Ramsey Lewis (Steele)by Marilyn Lester

When the COVID-19 pandemic descended in early

2020, pianist, NEA Jazz Master and three-time
Grammy-winner Ramsey Lewis, like many artists
confined in lockdown, looked for a way to express
himself. He found it, as did others, through theinternet, offering hour-long streaming concerts fromhis home on the last Saturday of every month. From
this “Saturday Salon Series”, the posthumously
released The Beatles Songbook represents the only CD
ever in which Lewis is found solo. 12 pieces extracted
from the streams are a testament of Lewis’ genius aswell as a eulogy: he died Sep. 12th, 2022 at 87.
In The Beatles Songbook, Lewis is on an expressive
high. Each cut reflects an interpretive understandingof the musical intention of authors John Lennon andPaul McCartney. And it is not for nothing that a great
deal of their catalogue has entered the new American
Songbook. In one of the most covered and recorded
works of all time, “Yesterday”, Lewis follows the moodof the original closely, adding his own creative ideas,
as he does with “Imagine”. A mood of intense longing
is captured in “Michelle” while magisterial optimism
is expressed in “The Long and Winding Road”.
An uptempo “Hey Jude”, steeped in gospel andfeaturing a prominent left hand, conveys the notionthat the listener is receiving good advice from a caring
friend; likewise, “Let It Be”, the most direct andunembellished track, makes a declarative statement ofadvice, firm but not overbearing, as Lewis gently ends
the piece by slyly and slowly trailing off.
Whimsy is also a delightful part of this album.
“Here, There and Everywhere” is a large hat tip to theembellished Art Tatum/Oscar Peterson style and, moreat 81. The iconoclastic tenor/alto/sopranosaxophonist, flutist and reedplayer was championed
for his contributions to jazz and respected by his
peers. Lauded for his work with Sun Ra, John
Coltrane and Don Cherry, as a leader he wasconstantly trying to reach new plains. On his third
album
Karma,
Sanders
achievedmusicaltranscendence and solidified his status as a true icon.
Karma, his second album for the Impulse! label
and recently reissued on vinyl, finds Sanders
extendinghisexperimentation
withintheintersection of jazz and spirituality found on his
previous date Tauhid. What truly makes this aseminal work in Sanders’ discography is the
harmonic marriage of Sanders’ horn and the vocalsof Leon Thomas. Both of their timbres go above theirmortal coils and reach new heights.
Karma consists largely of the two parts of “TheCreator Has A Master Plan”. The mystic opening
fully fleshes out Sanders and his ensemble,
introducing the listener to an ethereal sonic world.
The piece soon evens out to a solid groove courtesyof bassists Richard Davis and Reggie Workman.
Sanders is at the peak of his sonic powers, showing
a melodic character as compelling as it is unbridled.
Beginning at 7:26, Thomas enters with a chantlike exclamation of “yeah, yeah, yeah, yeah, yeah”,
adding another otherworldly dimension. His
exclamation of “there was a time, when peace wason the earth and joy and happiness did reign” brings
bright beauty to the music. The ornamental deliveryof flutist James Spaulding continues the sublime
feeling.
Karma ends with “Colors”, a perfect denouement
to the proceedings with its airy and tender resonance.
Leon’s vocal encapsulates the theme of the record
when he sings, “people say that life is misery, but in
him there is no mystery, so he send to us his rainbow
of love”.
One can only view in hindsight that Sanders
himself spent a lifetime sending all of us his“rainbow of love”. Karma is a great example of what
he was able to accomplish during his time with us.
For more information, visit shop.ververecords.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 35

Center Stage (with WDR Big Band)
Steve Gadd/Eddie Gomez/Ronnie Cuber (Leopard)by Ken Dryden

Gadd’s “Lucky 13” is an infectious miniature sureto get any audience dancing, Gomez’ brief, invigorating
solo taking top honors. Another highlight is the unusual
medley of R&B organ player Bill Doggett’s “Honky
Tonk” with country great Don Gibson’s “I Can’t Stop
Loving You”, which benefits from Abene’s creative
arrangement. Center Stage was recently announced as a
Grammy finalist, a well-deserved honor for theseveteran musicians. Sadly, this CD is likely Cuber’sswan song, as he died at 80 on Oct. 7th, 2022.
For more information, visit jazzline-leopard-shop.de

Drummer Steve Gadd, bassist Eddie Gomez andbaritone saxophonist Ronnie Cuber were guests of the
WDR Big Band in Germany for these early 2022 studiosessions, which focus primarily on R&B, soul and pop
from the ‘60s-70s. The WDR Big Band is currently
Michael Abene, who serves as arranger and conductor.
Although Gadd gets top billing, he doesn’t feel theneed to hog the solo spotlight. Instead, he provides a
stimulating foundation for the band with his seasoned
chops. The breezy scoring of Stevie Wonder ’s megabit“Signed, Sealed, Delivered” is suitably funky, featuring
a gritty Cuber, Bruno Müller ’s soulful guitar andSimon Oslender ’s hip piano, along with brief bursts
from the horns, with nimble drumming adding thefinishing touch. Bob Dylan’s lesser-known “Watching
The River Flow” is a nice surprise, with Cuber easily
stealing the show, though WDR alto saxophonist
Karolina Strassmayer serves as an inspiring foil. The
late drummer Buddy Miles’ “Them Changes” waseasily one of his best known compositions and thisfunk-drenched version, filled with Oslender ’s organ,
Paul Heller ’s tenor saxophone and yet another showstopping effort by Cuber, is a fine salute to this ‘70s hit.

OM 50: ElectroAcoustiCareOM (Intakt)
by Kurt Gottschalk

The new album by the Swiss supergroup OM wasn’t

intended as a memorial. When the record was slated
for September release, it was set to mark the band’s
remarkable five decades of activity together. But withthe death of drummer Fredy Studer on Aug. 22nd, 2022
at 74 it took on a very different feel.
ElectroAcoustiCare stands both as a tribute toStuder—if unintentionally so and certainly not thelast—and to the vitality and fearlessness of the quartet
for which he served as rudder and motor. And it is,

simply put, a fantastic set. At its founding, OM was an
attempt to merge jazz-based improvisation with rockenergy and 50 years later they did so better than ever.
The album opens with Studer’s steady pounding; therelentless tom rhythm could be heard as harkening backto The Velvet Underground or Public Image, Ltd. The
versatile and dexterous guitarist Christy Doran proves,
as always, more than adept at melody, noisiness andabstract sound and able to shift among them in less than
the space of a breath. Bobby Burri’s work is analogous
to the efforts of any good rock bassist—usually holding
firm ground without demanding attention—althoughclose listening reveals he is often doing much more thanmaintaining a tonal foundation; a few brief solos show
his ability to extrapolate freeform figures from a deep
funk suggestion. But the key to the album’s success atstanding firmly between genres—a claim made much
more often than it is realized—is Urs Leimgruber’s
saxophone, which avoids cliché without resorting to
spittle and squall, never striving to suggest the leadingrole of a vocalist but generally providing a focal center.
If the grooves, jams and space storms of
ElectroAcoustiCare succeed in anything beyond being afascinating listen rewarding repeat engagements,
though, it will be to call attention to the underrecognized drummer. With some long hiatuses in its
history, OM has less than a dozen albums under its
name. The trio Koch-Schütz-Studer is also well worthyof exploration as are Studer’s Duos series of meetings
and an album of Jimi Hendrix interpretations (Doran in
the unenviable guitar slot and Phil Minton on vocals) is
one of the more memorable cover projects dedicated to
the rock god. For its part, ElectroAcoustiCare is a fineswan song for a life spent behind the drums.
For more information, visit intaktrec.ch

The New York City Jazz Record
NEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE!

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BEEN PUBLISHED” - JOE LOVANO

nycjazzrecord.com
36 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORDBest Albums of 2022 “Masterpieces”

Supported by the world-renowned Aarhus Jazz
Orchestra, multi-award winning quartet Kalahapresent Tutku, an energetic fusion of jazz, Turkish
psychedelic rock and 80’s inspired synth-pop.

DownBeat

KRESTEN OSGOOD: “PLAYS THE ORGAN FOR YOU”

FREDRIK LUNDIN & ODENSE JAZZ ORCHESTRA:“IT TAKES ALL KINDS TO MAKE A WORLD”

An eclectic mix of hammond organ classics delivered
over the bedrock of bubbling funk grooves andimprovisation.

Critically acclaimed saxophonist and the forwardthinking Odense Jazz Orchestra bridge the gap
between avant-garde emotion and heavy groove.

LP / CD / Digital

LP / CD / Digital

LP / CD / Digital

KOSMOS TRIO: “BREV TIL EN VEN”

MORTEN SCHANTZ TRIO: “PASSENGER”

THE SUPREME COURT “A SUPREME VIBE”

Nordic melancholy mixed with high-drama from one ofEurope’s newest young jazz piano trios.

Revels in exploring both the familiar and theunexpected, offering a modern jazz extension to theiconic Scandinavian piano trio sound.

Jazz meets Hip Hop.

LP / CD / Digital

KALAHA + HILAL KAYA WITH AARHUS JAZZORCHESTRA: “TUTKU”

LP / CD / Digital

LP / CD / Digital

LP / CD / Digital

TOMASZ DABROWSKI & THE INDIVIDUAL BEINGS:“TOMASZ DABROWSKI & THE INDIVIDUAL BEINGS”

The now
sound
is on
April
Records
DISTRIBUTED BY:

ENTERTAINMENT GROUPCALENDAR
Sunday, January 1• Creole Cookin’ Jazz Band
• Greg Ruvolo

Arthur’s Tavern 7 pm
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Marilyn Maye
Birdland Theater 7, 9:30 pm $40• Chris Botti with Leonardo Amuedo, Reggie Hamilton, Holger Marjaama, Lee Pearson,
John Splithoff and guests Caroline Campbell, Chad Lefkowitz-Brown,
Anastasiia Mazurok, Alita Moses, Alicia Olatuja, Sy Smith, Andy Snitzer
		Blue Note 8, 10:30 pm $55-125• Nick Biello Trio
Cellar Dog 7 pm $5• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 5 pm
• Welf Dorr, Dmitry Ishenko, Dave Miller
		
The Keep 9 pm
• Gabrielle Stravelli, Michael Kanan, Pat O’Leary; Richard Cortez Jam		
Mezzrow 7:30, 9, 10:30 pm $25• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20• Matt Dwonszyk, Kelly Green, Luca Soul Rosenfeld
		Saint Peter’s Church 5 pm
• Fabien Mary Quintet; Andrew Kushnir Trio		
Smalls 7:30, 9, 10:30 pm $25
êColtrane Festival “Countdown 2023”: Eric Reed Quintet with with Vincent Herring,
Jeremy Pelt, John Webber, Joe Farnsworth		Smoke 7, 9 pm $35-55
êChris Potter Quartet with Craig Taborn, Scott Colley, Marcus Gilmore		Village Vanguard 8, 10 pm $40

Monday, January 2• Grove Street Stompers
Arthur’s Tavern 7 pm
• Wayne Tucker and The Bad Mothas

		Bar Lunàtico 9, 10:15 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Richard Cortez
Birdland 7 pm $30
êDizzy Gillespie Afro-Latin Experience: Freddie Hendrix, Sharel Cassity, Abelina Mateus,
John Lee, Tommy Campbell, Roger Squitero, “Machito Jr.” Mario Grillo
		Blue Note 8, 10:30 pm $30-45êBrandi Disterheft Trio
Cellar Dog 7 pm $5• Liam Sutcliffe Quartet; April Varner Quartet
		
The Django 7:30, 10:30 pm• Fleurine Trio; Pasquale Grasso, Ari Roland, Clifford Barbaro		Mezzrow 7:30, 9, 10:30 pm $25• Lex Korten Group with Caroline Davis		
Ornithology Jazz Club 9 pm
• Kings County Swing
St. Mazie Bar & Supper Club 8:30 pm• Jason Brown Quartet; Jonathan Michel Quartet		
Smalls 7:30, 9, 10:30 pm $25• Tsutoma Nakai
Zinc Bar 7, 8:30 pm $25

Tuesday, January 3• Diego Voglino Jam Session

Bar Bayeux 8 pmêHealing Power: Ben Allison, Ted Nash, Steve Cardenas

		
Birdland 7, 9:30 pm $30
êVince Giordano and The Nighthawks
		Birdland Theater 8:30 pm $30
êDizzy Gillespie Afro-Latin Experience: Freddie Hendrix, Sharel Cassity, Abelina Mateus,
John Lee, Tommy Campbell, Roger Squitero, “Machito Jr.” Mario Grillo
		Blue Note 8, 10:30 pm $30-45• Our Delight
Cellar Dog 7 pm $5• Melanie Charles
Dizzy’s Club 7:30, 9:30 pm $20-45• Pedro Giruado Quartet; Los Hacheros		
The Django 7:30, 10:30 pm• Frank Carlberg, John Hébert, Dan Weiss; Nadav Nazarathy Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Adrien Chevalier Trio
St. Mazie Bar & Supper Club 8 pm
• Michela Lerman Quartet; Jason Clotter Quartet		
Smalls 7:30, 9, 10:30 pm $25
êDavid Weiss
Zinc Bar 7, 8:30 pm $25

Wednesday, January 4êAdam Lane, Alexis Marcelo, Michael Wimberly; Ravish Momin solo and withMichael Wimberly

411 Kent 8 pm $15êJaleel Shaw Trio with Dezron Douglas, E.J. Strickland

		Bar Bayeux 8, 9:30 pmêBill Frisell Trio
Bar Lunàtico 9, 10:15 pm $10• Paul Jones Quartet
The Belfry 7 pmêJoe Lovano 70th Birthday Celebration with Steve Slagle, Ralph Lalama, Gary Smulyan,
Barry Reis, Ed Neumeister, James Weidman, Cameron Brown, Otis Brown III				
Birdland 8:30, 11 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30
êDizzy Gillespie Afro-Latin Experience: Freddie Hendrix, Sharel Cassity, Abelina Mateus,
John Lee, Tommy Campbell, Roger Squitero, “Machito Jr.” Mario Grillo
		Blue Note 8, 10:30 pm $30-45êSimon Moullier
Café Bohemia 7:30, 9:30, 11 pm $20
êJohnny O’Neal
Cellar Dog 7 pm $5• Carlos Jimenez Quartet
Chelsea Table & Stage 7 pm $25• Vanessa Rubin Quartet with Brandon McCune, Kenny Davis, Winard Harper				Dizzy’s Club 7:30, 9:30 pm $20-45• John Sneider Quintet; Eric Alexander Quartet
		
The Django 7:30, 10:30 pmêStudio RivBea Revisited: Karen Borca Quartet with Hilliard Greene, Warren Smith;Fred Moten/Brandon López; James Brandon Lewis Band		
Gene Frankel Theater 6 pm $25• Neil Podgurski, Madison Rast, Chad Taylor; Joe Block Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Raphael Silverman
The Porch 9 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Alex Simon Gypsy Ensemble St. Mazie Bar & Supper Club 8 pm

• Alexander Claffy Quartet with Rasmus Sorensen, Jochen Reuckert;

Benny Benack Quintet
Smalls 7:30, 9, 10:30 pm $25
êMatthew Shipp solo
The Stone at The New School 8:30 pm $20• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, January 5êTerry Waldo’s Gotham City Band

Arthur’s Tavern 10 pm
Bar Bayeux 5 pmêYasser Tejeda and Palotré
Bar Lunàtico 9, 10:15 pm $10êJoe Lovano 70th Birthday Celebration with Steve Slagle, Ralph Lalama, Gary Smulyan,
Barry Reis, Ed Neumeister, James Weidman, Cameron Brown, Otis Brown III				
Birdland 8:30, 11 pm $40• Ronny Whyte Quintet
Birdland Theater 8:30 pm $30
êDizzy Gillespie Afro-Latin Experience: Freddie Hendrix, Sharel Cassity, Abelina Mateus,
John Lee, Tommy Campbell, Roger Squitero, “Machito Jr.” Mario Grillo
		Blue Note 8, 10:30 pm $30-45• Ari Hoenig Trio with Gadi Lehavi, Ben Tiberio		
Café Bohemia 7:30, 9:30, 11 pm $20• Regional De New York; Ai Murakami Quartet
		
Cellar Dog 7, 11:30 pm $5• Judy Carmichael Trio
David Rubenstein Atrium 7:30 pm• Herlin Riley Quintet
Dizzy’s Club 7:30, 9:30 pm $20-45• Zach Adleman Quartet
Dizzy’s Club 11:15 pm $15• Tim Ries and Friends; Richie Vitale Quintet
		
The Django 7:30, 10:30 pmêStudio RivBea Revisited: Cooper-Moore Trio with Melanie Dyer, Brian Price;
Ahmed Abdullah/Monique Ngozi Nri; Isaiah Collier Trio		
Gene Frankel Theater 7 pm $25• Colin Stranahan, Glenn Zaleski, Rick Rosato; Ray Gallon Duo		
Mezzrow 7:30, 9, 10:30 pm $25• Jason Prover Sneak Thievery Orchestra
		
St. Mazie Bar & Supper Club 8 pm
êJC Sanford Imminent Standards Trio with Charlie Lincoln, George Schuller				
Silvana 7 pm
• Joris Teepe Trio; Elam Friedlander Quartet		
Smalls 7:30, 9, 10:30 pm $25
êColtrane Festival “Countdown 2023”: Billy Harper 80th Birthday Celebration with
Josh Evans, Benito Gonzalez, Lonnie Plaxico, Billy Hart		
Smoke 7, 9 pm $35-55• Matthew Shipp/Ivo Perelman
The Stone at The New School 8:30 pm $20• Judy Niemack/Jon Davis Trio
Swing 46 5:30 pm• Marta Sánchez

Friday, January 6êJohnny O’Neal Trio

Arthur’s Tavern 7 pm

• Spirits Rebellious: Saul Rubin and Itai Kriss		
Bar Lunàtico 9, 10:15 pm $10êBill Saxton and The Harlem All-Stars		
Bill’s Place 7, 9 pm $30• Birdland Big Band
Birdland 5:30 pm $30
êJoe Lovano 70th Birthday Celebration with Steve Slagle, Ralph Lalama, Gary Smulyan,
Barry Reis, Ed Neumeister, James Weidman, Cameron Brown, Otis Brown III				
Birdland 8:30, 11 pm $40• Steven Feifke Trio
Birdland Theater 7, 9:30 pm $30
êDizzy Gillespie Afro-Latin Experience: Freddie Hendrix, Sharel Cassity, Abelina Mateus,
John Lee, Tommy Campbell, Roger Squitero, “Machito Jr.” Mario Grillo
		Blue Note 8, 10:30 pm $30-45êBrian Charette Trio with Gilad Hekselman, Ari Hoenig; Akili Bradley Group with
Stacy Dillard
Café Bohemia 7, 10:30 pm $20
êWayne Escoffery Quartet; Raphael D’Lugoff Quartet
		
Cellar Dog 7, 11:30 pm $10• The Sound and Vision of David Bowie: Donny McCaslin, Tim Lefebvre, Henry Hey,
Gerry Leonard, Mark Plati, Brian Delaney, Gail Ann Dorsey, Michael Esper,
Catherine Russell, JJ Appleton, Everett Bradley, Jim Boggia
		
The Cutting Room 8 pm $35• Herlin Riley Quintet
Dizzy’s Club 7:30, 9:30 pm $20-45• Zach Adleman Quartet
Dizzy’s Club 11:15 pm $15êRick Germanson Trio; Mariel Bildsten Septet		
The Django 7:30, 10:30 pmêStudio RivBea Revisited: Isaiah Barr’s Austin Williamson’s Onyx Collective;
Anne Waldman; Centering Dance & Music: William Parker, Patricia Nicholson,
Ellen Christi, Lisa Sokolov
Gene Frankel Theater 7 pm $25• The Notet: Jeremy Udden, JC Sanford, Andrew Green, Dave Ambrosio				Ibeam Brooklyn 8 pm $15• Kate Cosco/Chris Haney
Knickerbocker Bar & Grill 9 pm $3.15
êMarc Copland, Drew Gress, Billy Drummond; Jeremy Manasia Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Bianca Love
The Porch 9 pm
• Rachel Z; Birsa Chatterjee
Room 623 at B2 Harlem 7, 10 pm $18-25• Muyassar Kurdi’s Where My Olive Trees Grow with Ben LaMar Gay, Lester St. Louis		
Roulette 8 pm $30• Julien Smith Trio; Gabriel Hermida; The East Village All Stars		
St. Mazie Bar & Supper Club 7:30 pmêValery Ponomarev Quintet; Corey Wallace Dubtet
		
Smalls 7:30, 9, 10:30 pm $25
êColtrane Festival “Countdown 2023”: Billy Harper 80th Birthday Celebration with
Josh Evans, Benito Gonzalez, Lonnie Plaxico, Billy Hart		
Smoke 7, 9, 10:30 pm $35-55
êMatthew Shipp/Mark Helias
The Stone at The New School 8:30 pm $20

Saturday, January 7• Louis Fouché

Bar Lunàtico 9, 10:15 pm $10êTim Berne, Gregg Belisle-Chi, Eivind Opsvik, Jeff Davis		
Barbès 6 pm $20
êJoe Lovano 70th Birthday Celebration with Steve Slagle, Ralph Lalama, Gary Smulyan,
Barry Reis, Ed Neumeister, James Weidman, Cameron Brown, Otis Brown III				
Birdland 8:30, 11 pm $40• Steven Feifke Trio
Birdland Theater 7, 9:30 pm $30
êDizzy Gillespie Afro-Latin Experience: Freddie Hendrix, Sharel Cassity, Abelina Mateus,
John Lee, Tommy Campbell, Roger Squitero, “Machito Jr.” Mario Grillo
		Blue Note 8, 10:30 pm $30-45• Max Light; Giuseppe Cucchiara Band with Ben Solomon		
Café Bohemia 7, 10:30 pm $20

38 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD• Richard Clements Quintet; Carol Morgan Quartet

		
Cellar Dog 7, 11:30 pm $10• Composers Concordance’s The Most Expensive Noise: Adriana Valdés,
Kevin Courtemanche, Charles Coleman, Peter Hess, Molly Aronson, Jai Jeffryes				
Church Street School For Music and Art 7 pm $20• The Sound and Vision of David Bowie: Donny McCaslin, Tim Lefebvre, Henry Hey,
Gerry Leonard, Mark Plati, Brian Delaney, Gail Ann Dorsey, Michael Esper,
Catherine Russell, JJ Appleton, Everett Bradley, Jim Boggia
		
The Cutting Room 8 pm $35• Herlin Riley Quintet
Dizzy’s Club 7:30, 9:30 pm $20-45• Zach Adleman Quartet
Dizzy’s Club 11:15 pm $15• David Gibson Quartet; Richard Cortez Band		The Django 7:30, 10:30 pm• Kevin Harris/Fabio Rojas
Drom 8:30 pm $25
êStudio RivBea Revisited: Darius Jones Quartet with Nick Saia, Lester St. Louis,
Jason Nazary; Bob Holman; Dave Burrell/Joe McPhee
		Gene Frankel Theater 7 pm $25• Spells and Potions: Jeonglim Yang, Andre Matos, Yoon Sun Choi		
Barbès 8 pm $15êMarc Copland, Drew Gress, Billy Drummond; Johnny O’Neal Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Jean Rohe’s Songs from the 74 Corridor with Caroline Davis, Christopher Tordini,
Jason Burger; James ShippThe Owl Music Parlor 8 pm $12• Jae Soto, Lost Amsterdam, Rili, Sagit Shir		
Room 31 at Arlo NoMad 7:30 pm• Matthew Avedon Trio; Alex Simon Gypsy Ensemble; Carte Blanche Jazz Band		St. Mazie Bar & Supper Club 7:30 pm• Rod Williams Trio Kenny Davis, Darrell Green		
Sistas’ Place 9, 10:30 pm $25
êValery Ponomarev Quintet; Ken Fowser Quintet		
Smalls 7:30, 9, 10:30 pm $25
êColtrane Festival “Countdown 2023”: Billy Harper 80th Birthday Celebration with
Josh Evans, Benito Gonzalez, Lonnie Plaxico, Billy Hart		
Smoke 7, 9, 10:30 pm $35-55
êMatthew Shipp Trio with Michael Bisio, Newman Taylor Baker
		The Stone at The New School 8:30 pm $20

Sunday, January 8• Creole Cookin’ Jazz Band

Arthur’s Tavern 7 pm
Barbès 8 pm $20• Olli Soikkeli Trio with Paul Sikivie, Dani Dano		
Barbès 10 pm $15• Scott Reeves Jazz Orchestra with Carolyn Leonhart, Steve Wilson, Jay Brandford,
Rob Middleton, Tim Armacost, Terry Goss, Brian Pareschi, John Lake, Eddie Allen,
Andy Gravish, Matt McDonald, Jason Jackson, Matt Haviland, Max Seigel, Jim Ridl,
Todd Coolman, Andy Watson
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30• Steven Feifke Trio
Birdland Theater 7, 9:30 pm $30• Louis Armstrong Tribute: Will and Peter Anderson with Vince Giordano, Joe Boga,Alex Raderman, Dalton Ridenhour Blue Note 12:30, 2:30 pm $25
êDizzy Gillespie Afro-Latin Experience: Freddie Hendrix, Sharel Cassity, Abelina Mateus,
John Lee, Tommy Campbell, Roger Squitero, “Machito Jr.” Mario Grillo
		Blue Note 8, 10:30 pm $30-45• Avi Rothbard Trio
Cellar Dog 7 pm $5• The Sound and Vision of David Bowie: Donny McCaslin, Tim Lefebvre, Henry Hey,
Gerry Leonard, Mark Plati, Brian Delaney, Gail Ann Dorsey, Michael Esper,
Catherine Russell, JJ Appleton, Everett Bradley, Jim Boggia
		
The Cutting Room 8 pm $35• Herlin Riley Quintet
Dizzy’s Club 5, 7:30 pm $20-45• Alexander Claffy Quartet with Adam Arruda, Matt Chalk, Tom Guarna; Andy Ezrin Trio		The Django 6:30, 9:30 pmêStudio RivBea Revisited: Melanie Dyer We Free Strings with Charles Burnham,
Gwen Laster, Alex Waterman, Newman Taylor Baker; Amina Claudine Myers solo		Gene Frankel Theater 3 pm $25• Welf Dorr, Dmitry Ishenko, Rob Mitzner
		
The Keep 9 pm
• Michael Kanan, Greg Ruggiero, Neal Miner; Lucy Wijnands Jam		
Mezzrow 7:30, 9, 10:30 pm $25• Ben Cassara/Roni Ben-Hur
North Square Lounge 12:30, 2 pm
• Itamar Borochov Contrafact with Ari Hoenig
		Room 31 at Arlo NoMad 7 pm
• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20• Baby Soda Jazz Band
St. Mazie Bar & Supper Club 8 pm
• Tyrone Allen, Lex Korten, Kayvon Gordon
		Saint Peter’s Church 5 pm
• Charles Ruggiero Quartet; Todd Herbert Quartet		
Smalls 7:30, 9, 10:30 pm $25
êColtrane Festival “Countdown 2023”: Billy Harper 80th Birthday Celebration with
Josh Evans, Benito Gonzalez, Lonnie Plaxico, Billy Hart		
Smoke 7, 9 pm $35-55• Jeremy Danneman and The Down with Joe Exley, Anders Nilsson		Westside Comedy Club 1 pmêStéphane Wrembel

Monday, January 9• Grove Street Stompers

Arthur’s Tavern 7 pm
Barbès 7 pm $15• Paul Jones Quartet
The Belfry 7 pm
• Nicole Zuraitis
Birdland 7 pm $30• Ye Huang Quintet
Birdland Theater 8:30 pm $30• Eli Degibri Quartet
Blue Note 8, 10:30 pm $25-35
êBruce Harris Trio
Cellar Dog 7 pm $5êLSAT: Lauren Sevian and Alexa Tarantino		Dizzy’s Club 7:30, 9:30 pm $20-45• David Yee Quartet; Esteban Castro Trio		The Django 7:30, 10:30 pm• Spike Wilner, Charles Ruggerio, Amos Hoffman; Pasquale Grasso, Ari Roland,
Clifford Barbaro
Mezzrow 7:30, 9, 10:30 pm $25• Kings County Swing
St. Mazie Bar & Supper Club 8:30 pm• Ari Hoenig Trio with Gilad Hekselman, Matt Penman; Jonathan Michel Quartet				
Smalls 7:30, 9, 10:30 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
êJack Wilkins
Zinc Bar 7, 8:30 pm $25
êSam Newsome/Max Johnson

Tuesday, January 10• Diego Voglino Jam Session

Bar Bayeux 8 pmêFrank Basile/Charles Ruggerio Slide Hampton Tribute Band		
Birdland 7, 9:30 pm $40• Nicole Zuraitis
Birdland Theater 5:30 pm $30• Meshell Ndegeocello with Chris Bruce, Jebin Bruni, Abraham Rounds, Kyle Miles		Blue Note 8, 10:30 pm $40-55• Ehud Asherie Trio
Cellar Dog 7 pm $5êVanderlei Pereira and Blindfold Test with Thiago Fernandes, Susan Pereira,
Vitor Gonçalves, Vinicius Gomes, Eduardo Belo		
Dizzy’s Club 7:30, 9:30 pm $20-45
êManuel Valera New Cuban Express; Sonido Costeno		
The Django 7:30, 10:30 pm• Nick Lyons/Theo Girard; Patrick Brennan, Jason Hwang, Hilliard Greene,
Michael TA Thompson; Kevin Murray, Will Greene, Tete Leguia		
Downtown Music Gallery 6:30 pm• Micah Thomas, Dean Torrey, Kayvon Gordon; Chris Byars, John Merrill, Neal Miner		
Mezzrow 7:30, 9, 10:30 pm $25• Miss Maybell and The Jazz Age Artistes
		
St. Mazie Bar & Supper Club 8 pmêSteve Nelson Quartet; Russell Hall Quartet		
Smalls 7:30, 9, 10:30 pm $25
êFred Hersch/Esperanza Spalding Village Vanguard 8, 10 pm $40
êBill O’Connell Trio with Santi Debriano, Billy Hart
		Zinc Bar 7, 8:30 pm $30• Stephen Haynes Group with Joe Morris, Jessica Pavone, Sarah Bernstein,Charlie Burnham, Lester St Louis Zürcher Gallery 8 pm $20

Wednesday, January 11• Jon Gordon Quartet with Max Light, Marcos Varela, Jay Sawyer

		
Bar Bayeux 8, 9:30 pm• Eddie Barbash Trio
Bar Lunàtico 9, 10:15 pm $10• Paul Jones Quartet
The Belfry 7 pmêFrank Basile/Charles Ruggerio Slide Hampton Tribute Band		
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Meshell Ndegeocello with Chris Bruce, Jebin Bruni, Abraham Rounds, Kyle Miles		Blue Note 8, 10:30 pm $40-55
êSimon Moullier
Café Bohemia 7:30, 9:30, 11 pm $20
êVictor Gould Trio
Cellar Dog 7 pm $5• April Varner Quintet with Yonatan Guedj, Gabriel Schillinger-Hyman,
Shimon Gambourg, Ahmad Johnson
		Chelsea Table & Stage 7 pm $25
êSteve Turre Generations with Wallace Roney, Jr., Emilio Modeste, Isaiah J. Thompson,
Orion Turre
Dizzy’s Club 7:30, 9:30 pm $20-45• Joe Strasser Trio; Ben Wolfe Trio The Django 7:30, 10:30 pmêCraig Harris’ Ohnedaruth with Alexis Marcelo, James Brandon Lewis, Jordyn Davis,
Jerome Jennings
Interchurch Center 7 pm
• Adam Rogers, Scott Colley, Bill Stewart; Neal Caine Trio with Andrew Fisher,
Jeremy Bean Clemons
Mezzrow 7:30, 9, 10:30 pm $25
êFrank Lacy Quartet with Yayoi Ikawa, Hilliard Greene, Taru Alexander		
New Amsterdam Musical Association 8 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êTomas Fujiwara Percussion Quartet with Patricia Brennan, Kaoru Watanabe,
Tim Keiper
Roulette 8 pm $30• Olli Soikkeli Trio
St. Mazie Bar & Supper Club 8 pm
• Alex Tremblay Sextet; Benny Benack Quintet		
Smalls 7:30, 9, 10:30 pm $25
êCory Smythe, Stephan Crump, Ingrid Laubrock		The Stone at The New School 8:30 pm $20
êFred Hersch/Esperanza Spalding Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, January 12êTerry Waldo’s Gotham City Band

Arthur’s Tavern 10 pmêJen Shyu/Sumi Tonooka’s In The Green Room with Linda May Han Oh,

Terri Lyne Carrington

Asia Society 7 pm
Bar Bayeux 5 pmêVinnie Sperrazza Trio with Ethan Iverson, Michael Formanek		
Bar Lunàtico 9, 10:15 pm $10• Miss Maybell and The Jazz Age Artistes with Charlie Judkins, Brian Nalepka				Barbès 8 pm $20
êDelfeayo Marsalis Uptown Jazz Orchestra with Tanya Boyd-Cannon		
Birdland 7, 9:30 pm $30
êAlexa Tarantino
Birdland Theater 8:30 pm $30• Meshell Ndegeocello with Chris Bruce, Jebin Bruni, Abraham Rounds, Kyle Miles		Blue Note 8, 10:30 pm $40-55• Mike Camacho Band with Bill Bickford
		Café Bohemia 7:30, 9:30, 11 pm $20• Philip Harper Quintet; Simona Premazzi Quartet
		
Cellar Dog 7, 11:30 pm $5êWinter Jazzfest—New Standards Live: Terri Lyne Carrington, Melanie Charles,
Linda May Han Oh, Kris Davis, Mary Halvorson, Helen Sung, Tia Fuller, Caroline Davis,
Michele Rosewoman, Sara Serpa, Rahsaan Carter, Michael Mayo, Devon Gates,
Veronica Leahy, Julius Rodriguez, Tcheser Holmes, Next Jazz Legacy Artists:
Kalia Vandever, Alexis Lombre, Loke Risberg, Lexi Hamner, Anastassiya Petrova,
Keyanna Hutchinson, Ivanna Cuesta
		City Winery 7 pm $20-45• La Suspendida: Andromeda Anarchia, The Growlers Choir, Seven)Suns String Quartet,
Matt Hollenberg
Culture Lab LIC 8 pm $20
êSteve Turre Generations with Wallace Roney, Jr., Emilio Modeste, Isaiah J. Thompson,
Orion Turre
Dizzy’s Club 7:30, 9:30 pm $20-45• Domo Branch and Friends
Dizzy’s Club 11:15 pm $15êMiki Yamanaka Trio; David Weiss Sextet
		The Django 7:30, 10:30 pm• Milena Casado
Jamaica Center for Arts and Learning 8 pmêRoy Hargrove Big BandThe Jazz Gallery 7:30, 9:30 pm $35-45• Marta SánchezêWinter Jazzfest: Vincent Peirani’s Jokers with Federico Casagrande, Ziv Ravitz;

Emile Parisien’s Louise with Theo Croker, Manu Codjia, Roberto Negro, Joe Martin,
Nasheet Waits; Avishai Cohen Quartet with Yonathan Avishai, Barak Mori, Ziv Ravitz;
Nicole Glover Trio with Tyrone Allen, Kayvon Gordon
		
Le Poisson Rouge 7 pm $35• Kevin Sun Quartet with Christian Li, Walter Stinson, Eliza Salem		
Lowlands 8, 9:30 pm• Adam Rogers, Scott Colley, Bill Stewart; Amos Hoffman, Ben Paterson, Dan Aran				
Mezzrow 7:30, 9, 10:30 pm $25• Winter Jazzfest: Gilles Peterson and guests
		
Nublu 151 10 pm $35• Asher Ben-Or; The Seneca Serenaders		
St. Mazie Bar & Supper Club 7:30 pm• Charlie Gordon
Silvana 7 pm
• Wayne Tucker Quintet; David Gibson Quartet		
Smalls 7:30, 9, 10:30 pm $25
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9 pm $35-55
êKris Davis/Ingrid Laubrock
The Stone at The New School 8:30 pm $20
êFred Hersch/Esperanza Spalding Village Vanguard 8, 10 pm $40

Friday, January 13êJohnny O’Neal Trio

Arthur’s Tavern 7 pmêJen Shyu/Sumi Tonooka’s In The Green Room with Linda May Han Oh,

Terri Lyne Carrington

Asia Society 7 pm

• Russell Hall and Harriet Tubman: Brandon Ross, Melvin Gibbs, JT Lewis

		
BAMCafé 9 pm
• Dana Lyn’s Baby Octopus with Mike McGinnis, Sara Schoenbeck, Gary Wang				Barbès 8 pm $20
êBill Saxton and The Harlem All-Stars		
Bill’s Place 7, 9 pm $30• Birdland Big Band
Birdland 5:30 pm $30
êDelfeayo Marsalis Uptown Jazz Orchestra with Tanya Boyd-Cannon		
Birdland 8:30, 10:30 pm $30• Magos Herrera Trio and Publiquartet
		Birdland Theater 7, 9:30 pm $30
êWinter Jazzfest—Paris Jazz Stage: Abraham Reunion: Cynthia Abraham,
Clelya Abraham, Zacharie Abraham, Arthur Alard; Paris Jazz Sessions:
Jeanne Michard, Noé Codjia, Noé Huchard, Edouard Pennes, David Paycha;
Yessaï Karapetian with Milena Casado, Salim Charvet, Stephen Byth, Mwanzi Harriott, ,Marc Karapetian, Brian Richburg, Jr.; Bada Bada: Leo Fumagali, Arnaud Roulin,
Lilian Mille, Tiss Rodriguez; Ishkero: Adrien Duterte, Victor Gasq, Arnaud Forestier,Antoine Vidal, Tao Ehrlich; TISS+: Tiss Rodriguez, Auxane Cartigny, Galawesh Heril,
Adrian Edeline
The Bitter End 6:45 pm $65-195• Meshell Ndegeocello with Chris Bruce, Jebin Bruni, Abraham Rounds, Kyle Miles		Blue Note 8, 10:30 pm $40-55• Chris Byars Sextet; Lucas Pino Café Bohemia 7, 10:30 pm $20• Jade Synstelien Quartet; Clovis Nicolas Quartet
		
Cellar Dog 7, 11:30 pm $10êWinter Jazzfest: Miho Hazama and m.unit; Yamandu Costa; Ben Wendel Quartet with
Taylor Eigsti, Harish Raghavan, Nate Wood; HERA: Chelsea Baratz, Anne Drummond,Alexis Lombre, Endea Owens, Shirazette Tinnin, Andromeda Turre;
Lakecia Benjamin Band with Victor Gould, Elias Bailey, E.J. Strickland,
Brandee Younger; Maurice “Mobetta” Brown Trio with James Francies, Mike Mitchelland guests
City Winery 6 pm $65-195êWinter Jazzfest: Adam O’Farrill’s Stranger Days with Xavier Del Castillo, Walter Stinson,
Zack O’Farrill; Sara Serpa’s Intimate Strangers with Erin Pettigrew, Aubrey Johnson,
Yoon Sun Choi, Fabian Almazan, Qasim Naqvi; Chase Elodia Quartet withClaire Dickson, Theo Walentiny, Kanoa Mendenhall; Linda May Han Oh’s
The Glass Hours with Sara Serpa, Greg Ward, Matt Mitchell, Obed Calvaire		City Winery 7 pm $65-195• La Suspendida: Andromeda Anarchia, The Growlers Choir, Seven)Suns String Quartet,
Matt Hollenberg
Culture Lab LIC 8 pm $20
êGaia Wilmer Large Ensemble with Maiara Moraes, Yulia Musayelyan, Joana Queiroz,
Alejandro Avilez, Gustavo D’amico, Livio de Almeida, Felipe Salles, Seneca Black,
Bryan Davis, Josh Deutsch, Dave Smith, Ryan Keberle, Chris Washburn,Mariel Bildstein, Becca Patterson, Leandro Pellegrino, Vitor Gonçalves, Eduardo Belo,
Dennis Bulhões
Dizzy’s Club 7:30, 9:30 pm $20-45• Domo Branch and Friends
Dizzy’s Club 11:15 pm $15• Charles Ruggiero Quartet; Ty Bailie Trio		The Django 7:30, 10:30 pmêWinter Jazzfest—Pyroclastic Records Showcase: Chris Lightcap’s Superette Deluxewith Steve Cardenas, Luca Benedetti, Brian Marsella, Dan Rieser;
Mary Halvorson/Sylvie Courvoisier; Craig Taborn solo		
The Jazz Gallery 7:30, 9:30, 11 pmêDavid Krakauer/Kathleen Tagg’s Breath and Hammer Unplugged		Joe’s Pub 7 pm $30
êJazz Piano Festival: A Bu; Miki Yamanaka; Dave Burrell; Arturo O’Farrill				Klavierhaus 12 pm $30
êWinter Jazzfest: Immanuel Wilkins Quartet with Rick Rosato, Kweku Sumbry;
Donny McCaslin Quartet with Mark Guiliana, Tim Lefebvre, Jason Lindner;
Joel Ross’ Parables with Gabrielle Garo, Immanuel Wilkins, María Kim Sterling,
Kalia Vandever, Marquis Hill, Sean Mason, Rick Rosato, Craig Weinrib, Nick Jozwiak
		
Le Poisson Rouge 6:30 pm $65-195• Winard Harper Trio; Jon Davis Trio Mezzrow 7:30, 9, 10:30 pm $25
êWinter Jazzfest: Caroline Davis Quintet with Marquis Hill, Julian Shore, Chris Tordini,
Allan Mednard; Nathalie Joachim; Takuya Kuroda Quintet with Craig Hill,
Taka Izumikawa, Rashaan Carter, Christian X.M. McGhee; Reid Anderson Trio with
Gregg Belisle-Chi, Tina Priceman; Nate Mercereau Trio with Surya Botofasina,
Carlos Niño; Isaiah Collier and The Chosen Few with Michael Ode, Jeremiah Hunt,
Julian Davis Reid; Jason Lindner Presents BREAK.FAST.CLUB. with Rajeev Maddela,
Tim Lefebvre
Nublu 151 6:30 pm $65-195• Richard Cortez; Luther S. Allison Room 623 at B2 Harlem 7, 10 pm $18-25• MONAD: Jessica Pavone, Tristan Kasten-Krause, Cory Bracken, Nick Podgurski andguest Nadoyel
Roulette 8 pm $30• The New Wonders
St. Mazie Bar & Supper Club 10 pm• Tim Armacost Quartet; Philip Harper Quintet		
Smalls 7:30, 9, 10:30 pm $25
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9, 10:30 pm $35-55
êGrammy Season: Ingrid Laubrock, Brandon Seabrook, Michael Formanek, Tom Rainey		The Stone at The New School 8:30 pm $20

êFred Hersch/Esperanza Spalding Village Vanguard 8, 10 pm $40
êWinter Jazzfest: Esthesis Quartet: Elsa Nilsson, Dawn Clement, Emma Dayhuff,

Tina Raymond; Endea Owens and The Cookout; Doug Wamble Quartet with Eric Revis,
Nasheet Waits, Abdias Armenteros; Marta Sánchez Quintet with Alex LoRe,
Morgan Guerin, Matt Brewer, Allan Mednard; Orrin Evans Trio with Bob Hurst,
Marvin “Smitty” Smith; Richie Goods/Chien Chien Lu’s Connected with Miki Hayama,
Quentin Zoto, Smithsoneon
Zinc Bar 6:30 pm $65-195

Saturday, January 14êWinter Jazzfest: Sungazer: Adam Neely/Shawn Crowder; Sarah Elizabeth Charles Band

with Jesse Fischer, Jordan Peters, Curtis Nowosad; Rich Ruth: Michael Ruth,
Cameron Carrus, Taylor Floreth, Sam Que; LNDFK with Dario Bass; Jason Lindner;
JaRon Marshall with Michael Longoria, Clunis, Brian Donohue; Ghost Funk Orchestra:
Seth Applebaum, Billy Aukstik, Jeremy Stoddard Carroll, Stephen Chen,
Mario Gutierrez, Romi Hanoch, James Kelly, Megan Mancini, Joshua Park, Brian Plautz		Baby’s All Right 6:30 pm $65-195• Russell Hall and Harriet Tubman: Brandon Ross, Melvin Gibbs, JT Lewis
		
BAMCafé 9 pmêTim Berne, Gregg Belisle-Chi, Eivind Opsvik, Jeff Davis		
Barbès 6 pm $20
êDelfeayo Marsalis Uptown Jazz Orchestra with Tanya Boyd-Cannon		
Birdland 8:30, 10:30 pm $30• NY Voices
Birdland Theater 7, 9:30 pm $30• Meshell Ndegeocello with Chris Bruce, Jebin Bruni, Abraham Rounds, Kyle Miles		Blue Note 8, 10:30 pm $40-55
êWinter Jazzfest—Future x Sounds salutes Revive Music: Susan Carol;
Ray Angry’s Producer Mondays with Nomaad and Friends: Thaddaeus Tribbett,George “Spanky” McCurdy; Igmar Thomas and The Revive Big Band with Louis Catoand guests; Pete Rock and The Soul Brothers with Amxxr, Marcus Machato,
Jermaine Holmes
Brooklyn Bowl 6:45 pm $65-195êFrench Quarter Jazz Fest 2023
Café Bohemia 7 pm $20
êItai Kriss and La Guarancharanga; Jamale Davis Quartet
		
Cellar Dog 7, 11:30 pm $10• Ty Stephens and (the) SoulJaazz Chelsea Table & Stage 9:30 pm $20• Winter Jazzfest: Gengis Don and The Empire with Johnny Cola, Peter Enriquez,
Chris Gaskel, Keenyn Omari, Zacchae’us Paul; Daniel Villarreal with Cole DeGenova,
Danjuma Gaskin, Nathan Karagianis, Gordon Walters		Club Curious 7 pm $65• La Suspendida: Andromeda Anarchia, The Growlers Choir, Seven)Suns String Quartet,
Matt Hollenberg
Culture Lab LIC 8 pm $20
êYoung Monk Project: Joel Ross, Sean Mason, Mark Lewandowski, Zoe Obadia,
Domo Branch
Dizzy’s Club 7:30, 9:30 pm $20-45• Domo Branch and Friends
Dizzy’s Club 11:15 pm $15êJason Tiemann Trio; Sarah Hanahan Quartet
		
The Django 7:30, 10:30 pm• Brandon Terzakisz, Dan O’Brien, Aidan O’Connell; Stephen Gauci, Adam Lane,
Kevin Shea; Matt Lambiase, Ken Filiano, Jeremy Carlstedt
		
Downtown Music Gallery 6 pmêNeal Kirkwood Trio with Jeff Carney, Rob Garcia
		Ibeam Brooklyn 8:30 pm $20
êWinter Jazzfest—Pyroclastic Records Showcase: Eric Revis Quintet with Kris Davis,
Chad Taylor, Darius Jones, Bill McHenry; Patricia Brennan’s More Touch with Kim Cass,
Mauricio Herrera, Marcus Gilmore The Jazz Gallery 7:30, 9:30 pm• Sunny Jain’s Love Force with Paula Winter, David Adewumi, Kalun Leung,Shoko Nagai, Almog Sharvit
Joe’s Pub 9:30 pm $20• The Ever Fonky Lowdown: Juilliard Jazz Orchestra
		
Juilliard School Peter Jay Sharp Theater 7:30 pm $20
êJazz Piano Festival: Rufus Reid/Caelan Cardello; Aruán Ortiz; ELEW; Jean-Michel Pilc;
Rachel Z
Klavierhaus 12 pm $30
êWinter Jazzfest: GEORGE: Anna Webber, Aurora Nealand, Chiquita Magic,
John Hollenbeck; Roxana Amed Quartet with Martin Bejerano, Edward Perez,
Eric Doob; William Parker Trio with Dave Burrell, Hamid Drake; Alfredo Colon Quintet
with Kalia Vandever, Lex Korten, Steve Williams, Connor Parks		
Loove Labs 7 pm $65• Winard Harper Trio; Dave Kikoski Trio		
Mezzrow 7:30, 9, 10:30 pm $25
êWinter Jazzfest: Dayramir Gonzalez Quartet with James Robbins, Tiago Michelin,
Taka Mikaido; Mark Guiliana Quartet with Jason Rigby, Jason Lindner, Chris Morrissey;
Surya Botofasina’s Sounds for Meghan Stabile with Carlos Niño, Nate Mercereau;
Zoh Amba/Chris Corsano; Photay with Carlos Niño. Randal Fisher, Celia Hollander		
National Sawdust 7 pm $65-195êWinter Jazzfest: Black Lives—From Generation to Generation: Stephanie McKay,
Christie Dashiell, Sharrif Simmons, Jacques Schwarz-Bart, Federico Gonzalez Peña,
Andy Milne, Adam Falcon, David Gilmore, Reggie Washington, Gene Lake,
E.J. Strickland; Julius Rodriguez with Chris Lewis, Alonzo Demetrius,
Brian Richburg, Jr., Corey Sanchez; Brandee Younger Trio with Rashaan Carter,
Allan Mednard; Dawn Richard/Spencer Zahn’s Pigments; Sun Ra Arkestra:
Marshall Allen, Knoel Scott, Cecil Brooks, Michael Ray, Dave Davis, Robert Stringer,
Elson Nascimento, D. Hotep, Tyler Mitchell, James Stewart, David Lee Jones,
Chris Hemingway, Wayne Smith, Tara Middleton
		
The Opera House 6:30 pm $65-195• New West Guitars
Room 31 at Arlo NoMad 7 pm
• Morgan Guerin Quartet with Mike King, Rashaan Carter, JK Kim
		
Roulette 8 pm $30• Koran Agan Trio; Bill Malchow St. Mazie Bar & Supper Club 7:30 pmêJimmy Owens
Sistas’ Place 9, 10:30 pm $25• Tim Armacost Quartet; Eric Wyatt Quartet		
Smalls 7:30, 9, 10:30 pm $25
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9, 10:30 pm $35-55
êDouble Duo: James Brandon Lewis, Ingrid Laubrock, Chad Taylor, Tom Rainey		The Stone at The New School 8:30 pm $20
êWinter Jazzfest: Gilles Peterson; Jamaaladeen Tacuma Band with Billy Martin,
Lee Odom, Paul Geiss, Brandon López; Makaya McCraven Quartet with Junius Paul,
Matt Gold, Marquis Hill; Irreversible Entanglements: Camae Ayewa, Luke Stewart,
Keir Neuringer, Aquiles Navarro, Tcheser Holmes; Nate Smith, Jason Lindner,
Tim Lefebvre; Razor-N-Tape presents A Joyful Noise: JKriv, Jason Lindner,
Peter Matson, Jim Orso, Carter Yasutaki, Stuart Bogie, Olatunji Barton Richardson 				Superior Ingredients 7 pm $65
êDizzy, Chano and Chico—The Original Influencers: 75 Years Later at Town Hall:
Arturo O’Farrill and The Afro Latin Jazz Orchestra with Pedrito Martinez, Big Chief
Donald Harrison, Jon Faddis, Daymé Arocena, Adam O’Farrill, Zack O’Farrill,
Jacquelene Acevedo, Melvis Santa		
Town Hall 8 pm $42.50
êFred Hersch/Esperanza Spalding Village Vanguard 8, 10 pm $40• Abraham Reunion; Paris Jazz Session with Jeanne Michard; Yessaï Karapetian		
Zinc Bar 8 pm

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 39

Sunday, January 15• Ann Hampton Callaway

54 Below 7 pm $55-105
êMichel Gentile solo
440Gallery 4:40 pm $10• Creole Cookin’ Jazz Band
Arthur’s Tavern 7 pmêFrank London Brass Trio
Bar Lunàtico 9, 10:15 pm $10êStéphane Wrembel
Barbès 8 pm $20• Joey Alexander
Birdland 8:30, 10:30 pm $30• Darmon Meader
Birdland Theater 7, 9:30 pm $30• Meshell Ndegeocello with Chris Bruce, Jebin Bruni, Abraham Rounds, Kyle Miles		Blue Note 8, 10:30 pm $40-55• Charles Ruggerio Trio
Cellar Dog 7 pm $5• Kristina Koller’s Cole Porter Reimagined		
Chelsea Table & Stage 7 pm $20• Kenny Washington and Trio with Josh Nelson, Sam Bevan, Darrell Green				Dizzy’s Club 5, 7:30 pm $20-45• Dwayne “Cook” Broadnax Quartet; Michael Kanan Trio		The Django 6:30, 9:30 pm• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 5 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko, Dalius Naujo
		
The Keep 9 pmêJazz Piano Festival: Laszlo Gardony; Andy Milne; Orrin Evans; Dayramir Gonzalez;
Jean-Michel Pilc
Klavierhaus 12 pm $30
êAnnual Martin Luther King, Jr. Day Celebration: Samara Joy
		
Kupferberg Center 3 pm $20• Hilary Gardner Quartet; Naama Gheber Jam		
Mezzrow 7:30, 9, 10:30 pm $25• Kate Baker Trio
North Square Lounge 12:30, 2 pmêWinter Jazzfest—Flock Up and Fly, A Night Honoring Jaimie Branch: Jeff Parker,
Chad Taylor, Joe Morris, Luke Stewart, Jason Nazary, Fay Victor, Janel Leppin,
Amirtha Kidambi, Anthony Pirog, Angela Morris, Nathaniel Morgan, Aquiles Navarro,
Kim Alpert, Piotr Orlov, Lester St. Louis		
Nublu 151 8 pm $35
êDaniel Freedman Gnawa Octet with Maalem Hassan Ben Jaafar, Amino Belyamani,David Lizmi, Gilad Hekselman, Jason Lindner, Tim Keiper, Mauro Refosco				
Rizzoli Bookstore 4 pm $25• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20• Baby Soda Jazz Band
St. Mazie Bar & Supper Club 8 pm
• Emilio Teubal, Pablo Lanouguere, Rodrigo Recabarren
		Saint Peter’s Church 5 pm
• Mike Troy Quartet; Ai Murakami Quartet		
Smalls 7:30, 9, 10:30 pm $25
êNicholas Payton The Couch Sessions Trio with Buster Williams, Lenny White				
Smoke 7, 9 pm $35-55
êFred Hersch/Esperanza Spalding Village Vanguard 8, 10 pm $40

Monday, January 16• Grove Street Stompers
Arthur’s Tavern 7 pm
• Vinicius Gomes Trio with guest Magos Herrera		Bar Lunàtico 9, 10:15 pm $10• Paul Jones Quartet
The Belfry 7 pmêStacey Kent
Birdland 7, 9:30 pm $30• Michael and Alicia Olatuja
Birdland Theater 8:30 pm $30
êJames Francies
Blue Note 8, 10:30 pm $25• Chris Beck Trio with Kyle Koehler, Fukushi Tainaka
		Cellar Dog 7 pm $5• Daahoud Salim Quintet with Bruno Calvo, Pablo Martinez, Hendrik Müller,
Andreu Pitarch
Dizzy’s Club 7:30, 9:30 pm $20-45• Thomas Linger Quartet; Hank Allen-Barfield Quintet
		
The Django 7:30, 10:30 pmêJazz Piano Festival: Aruán Ortiz; Benito Gonzalez; Elio Villafranca; Aaron Parks;
Edsel Gomez/Clifton Anderson Klavierhaus 12 pm $30
êWinter Jazzfest—Verve Records Showcase: Samara Joy with Luther Allison,
Felix Moseholm, Evan Sherman; Brandee Younger, Julius Rodriguez withJermaine Paul, Brian Richburg. Jr. Le Poisson Rouge 7 pm $35• Deanna Kirk Quartet; Chris Flory Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Kings County Swing
St. Mazie Bar & Supper Club 8:30 pm• French Quarter Festival: Abraham Reunion; Paris Jazz Sessions; Yessaï Karapetian;
Auxane Cartigny Trio
Smalls 7:30 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40• Ben Monder Group with Theo Bleckmann
		
Zinc Bar 7, 8:30 pm $25

Tuesday, January 17• Diego Voglino Jam Session

Bar Bayeux 8 pm
Bar Lunàtico 9, 10:15 pm $10
Birdland 7, 9:30 pm $40• Nicole Zuraitis
Birdland Theater 5:30 pm $30• Marcus Strickland’s Twi Life
Blue Note 8, 10:30 pm $25-35• Nick Hempton Trio
Cellar Dog 7 pm $5• Brandon Goldberg Trio with Ben Wolfe, Aaron Kimmel
		
Dizzy’s Club 7:30, 9:30 pm $20-45
êConrad Herwig Latin Side All-Stars		
The Django 7:30, 9:30 pm• Marc Sloan’s Ritual Tension and Divine Bone Collection		
Downtown Music Gallery 6:30 pm• Sunlight: Max Light, Kevin Sun, Simón Willson, Steven Crammer
		Lowlands 7:30, 9 pm
• Larry Browne, Richard Clements, Caleb Tobocman; Nick Masters Trio				
Mezzrow 7:30, 9, 10:30 pm $25
êWinter Jazzfest: Nate Mercereau and Friends performing Pharaoh Sanders’ Elevation
with Surya Botofasina, Will Logan, Carlos Niño
		
Public Records 8 pm $30• Alex Simon Gypsy Ensemble St. Mazie Bar & Supper Club 8 pm
• Dave Glasser/Larry Ham Quartet; Jason Clotter Quartet		
Smalls 7:30, 9, 10:30 pm $25
êDavid Murray Quartet with Marta Sánchez, Luke Stewart, Kassa Overall				Village Vanguard 8, 10 pm $40
êWinter Jazzfest: Samora Pinderhughes’ Grief & Process with Argus Quartet, Nio Levon,
Jehbreal Jackson, Dani Murcia, Elliott Skinner, Jack DeBoe, Joshua Crumblyand guests
Westbeth Artists Complex 6, 9 pm $5-25• Yotam Silberstein Tribute to Jacob do Bandolím		
Zinc Bar 7, 8:30 pm $25
êDan Weiss/Miles OkazakiêBilly Hart Quartet

Wednesday, January 18êManuel Valera, Lonnie Plaxico, Kirk Driscoll		
333 Lounge 7:30, 9:30 pm• John King Trio with Brandon López, Michael Wimberly; Lesley Mok solo		
411 Kent 8 pm $15• Spike Wilner Trio
Bar Bayeux 8, 9:30 pm• Mike Moreno Quartet
Bar Lunàtico 9, 10:15 pm $10• Paul Jones Quartet
The Belfry 7 pmêBilly Hart Quartet
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Marcus Strickland’s Twi Life
Blue Note 8, 10:30 pm $25-35
êSimon Moullier
Café Bohemia 7:30, 9:30, 11 pm $20• Noriko Ueda Trio
Cellar Dog 7 pm $5• Brandon Goldberg Trio with Ben Wolfe, Aaron Kimmel
		
Dizzy’s Club 7:30, 9:30 pm $20-45
êJonny King Trio with Ed Howard, Donald Edwards; Ben Stivers Quartet
		
The Django 7:30, 10:30 pmêCory Smythe solo
The Jazz Gallery 7:30, 9:30 pm $20-30• Alune Wade with Cédric Duchemann, Dharil Esso, Daniel Blake, Kirk Knuffke				Joe’s Pub 9:30 pm $20
êRyan Siegel, Michael Gilbert, James Nadien; Yuki Togami, Rema Hasumi, Ayumi Ishito;
Stephen Gauci, Adam Lane, Colin Hinton; Hery Paz, Kenneth Jimenez, Willy Rodriguez;
Yoni Kretzmer, Kenny Warren, Shanir Blumenkrantz, Chad Taylor
		Main Drag Music 7 pm $20• Greg Skaff, Ugonna Okegwo, Jonathan Barber; Thomas Linger Trio		
Mezzrow 7:30, 9, 10:30 pm $25
êWinter Jazzfest: Katalyst; Stuart Bogie; Antonio Sanchez and Thana Alexa				
Nublu 151 8 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15• Adrian Cunningham and His Old School
		
St. Mazie Bar & Supper Club 8 pm
• Yuhan Su Quintet; Benny Benack Quartet		
Smalls 7:30, 9, 10:30 pm $25
êCraig Taborn, Mat Maneri, Mary Halvorson, Ches Smith		The Stone at The New School 8:30 pm $20
êDavid Murray Quartet with Marta Sánchez, Luke Stewart, Kassa Overall				Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm

Thursday, January 19êTerry Waldo’s Gotham City Band

Arthur’s Tavern 10 pm• Marta Sánchez
Bar Bayeux 5 pm
• Eduardo Belo and The Beasts with Dennis Bulhoes, Itai Kriss, Vinícius Gomes,
Vitor Gonçalves

Bar Lunàtico 9, 10:15 pm $10
Birdland 7, 9:30 pm $40• DJ Logic and Friends with James Carter, James Genus, Robert “Sput” Searight,
Neal EvansBlue Note 8, 10:30 pm $25-35• Grant Stewart
Café Bohemia 7:30, 9:30, 11 pm $20
êDavid Schnitter/Greg Glassman Quintet; Jinjoo Yoo Quartet
		
Cellar Dog 7, 11:30 pm $5• Gregorio Uribe
David Rubenstein Atrium 7:30 pm• Oberlin Sonny Rollins Jazz Ensemble: George Rogers, Jordy Guldman, Melvin Nimtz,
Mitchell Galligan, Kamran Curlin, Jacob Clements, Noah Nelson, Gillian Piper				Dizzy’s Club 7:30, 9:30 pm $20-45• Tyreek McDole Collective
Dizzy’s Club 11:15 pm $15êJoe Farnsworth Trio; Mark Whitfield		
The Django 7:30, 10:30 pm• Tal Yahalom Quintet with Ledah Finck, Irene Han, David Leon, Rogério Boccato
		
The Jazz Gallery 7:30, 9:30 pm $20-30êTim Berne Trio with Gregg Belisle-Chi, Tom Rainey		
Lowlands 7:30, 9 pm
• Milton Suggs Trio; Greg Murphy Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Keir GoGwilt/Kyle Motl’s Treesearch		Outpost 8 pm $15• Tal Mashiach’s Tiyul
Room 31 at Arlo NoMad 7 pmêImprov Nights—A Tribute to Derek Bailey: John Zorn, Jim Staley, Dave Taylor,
Laurie Anderson, Mary Halvorson, Ikue Mori, Craig Taborn, Joel Ross, Brian Marsella,
Brandon López, Kate Gentile
Roulette 8 pm $30• Sweet Tooth Jazz Band
St. Mazie Bar & Supper Club 8 pmêAdam O’Farrill Quartet with Gabriel Chakarji, Walter Stinson, Zack O’Farrill
		
SEEDS 8 pm
• Irv Grossman
Silvana 7 pmêEric Person Quartet; Sarah Hanahan Quartet		
Smalls 7:30, 9, 10:30 pm $25
êAl Foster 80th Birthday Celebration with Chris Potter, Kevin Hays, Ben Street				
Smoke 7, 9 pm $35-55
êNate Wooley, James Brandon Lewis, Shahzad Ismaily, Ches Smith		The Stone at The New School 8:30 pm $20
êDavid Murray Quartet with Marta Sánchez, Luke Stewart, Kassa Overall		Village Vanguard 8, 10 pm $40
êBilly Hart Quartet

Friday, January 20êJohnny O’Neal Trio

Arthur’s Tavern 7 pm

• Anything Mose: John Chin and Richard Julian		
Bar Lunàtico 9, 10:15 pm $10êBill Saxton and The Harlem All-Stars		
Bill’s Place 7, 9 pm $30• Birdland Big Band
Birdland 5:30 pm $30
êBilly Hart Quartet
Birdland 8:30, 10:30 pm $40
êHouston Person Quintet
Birdland Theater 7, 9:30 pm $30• DJ Logic and Friends with James Carter, James Genus, Robert “Sput” Searight,
Neal EvansBlue Note 8, 10:30 pm $25-35• Jerome Sabbagh Quartet with Ben Monder; Yotam Silberstein		
Café Bohemia 7, 10:30 pm $20• John Mosca Quintet; James Austin Quartet
		
Cellar Dog 7, 11:30 pm $10êJimmy “El Trombon Criollo” Bosch and The Salsa Masters Orchestra				David Rubenstein Atrium 7:30 pmêJohnny O’Neal Tribute to the Crooners with Tony Hewitt, Ilya Lushtak, Daralyn Jay,
Luke Sellick, Quincy Davis
Dizzy’s Club 7:30, 9:30 pm $20-45• Tyreek McDole Collective
Dizzy’s Club 11:15 pm $15

40 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORDêEd Cherry Quartet with guest Brad Shepik; Akiko Tsuruga Quartet with Jerry Weldon,

Charlie Sigler, Carmen Intorre, Jr. The Django 7:30, 10:30 pm• Imani Records All-Stars: John Swana, Caleb Curtis, Tim Brey, Nathan Pence,
Mehki Boone

The Jazz Gallery 7:30, 9:30 pm $30-40• Michael Wolff Trio; Jon Davis Trio Mezzrow 7:30, 9, 10:30 pm $25• Michael Feinberg Quartet with Santosh Sharma, Benito Gonzalez, JK Kim

		
The Porch 9 pm
• Kevin Oliver, Jr.; Ted Chubb
Room 623 at B2 Harlem 7, 10 pm $18-25
êMiddle East Meditations: Jazz at Lincoln Center Orchestra with guest Naseer Shamma		Rose Theater 8 pm $45-130êImprov Nights—A Tribute to Derek Bailey: John Zorn, Matana Roberts, Caroline Davis,
Mary Halvorson, Wendy Eisenberg, Craig Taborn, Brian Marsella, Patricia Brennan,
Henry Fraser, Brandon López, Kate Gentile		Roulette 8 pm $30• Q Morrow; The New Wonders St. Mazie Bar & Supper Club 7:30 pmêDavid Weiss Sextet; Corey Wallace Dubtet
		
Smalls 7:30, 9, 10:30 pm $25
êAl Foster 80th Birthday Celebration with Chris Potter, Kevin Hays, Vicente Archer				
Smoke 7, 9, 10:30 pm $35-55• Shara Lunon, James Brandon Lewis, Oscar Noriega, Shahzad Ismaily, Ches Smith		The Stone at The New School 8:30 pm $20• Judy Niemack/Jon Davis Trio
Swing 46 5:30 pmêDavid Murray Quartet with Marta Sánchez, Luke Stewart, Kassa Overall		Village Vanguard 8, 10 pm $40

Saturday, January 21êTim Berne, Gregg Belisle-Chi, Eivind Opsvik, Jeff Davis		
Barbès 6 pm $20
êLucian Ban/Mat Maneri
Barbès 8 pm $20
êBilly Hart Quartet
Birdland 8:30, 10:30 pm $40
êHouston Person Quintet
Birdland Theater 7, 9:30 pm $30• DJ Logic and Friends with James Genus, Robert “Sput” Searight, Neal Evans,
Casey BenjaminBlue Note 8, 10:30 pm $25-35• Abdias Armenteros; Jayla Chee Café Bohemia 7, 10:30 pm $20• Wayne Tucker Quintet; Courtney Wright Quartet
		
Cellar Dog 7, 11:30 pm $10êJohnny O’Neal Tribute to the Crooners with Tony Hewitt, Ilya Lushtak, Daralyn Jay,
Luke Sellick, Quincy Davis
Dizzy’s Club 7:30, 9:30 pm $20-45• Tyreek McDole Collective
Dizzy’s Club 11:15 pm $15êTommy Campbell Trio with John DiMartino, Santi Debriano; Nick Hempton Band		The Django 7:30, 10:30 pm• Gideon Forbes Sextet with David Adewumi, Zekkereya El-magharbel,
Angelica Sanchez, Mathias Højgaard Jensen, Devin Gray		
Ibeam Brooklyn 8 pm $20• Imani Records All-Stars: John Swana, Caleb Curtis, Tim Brey, Nathan Pence,
Mehki Boone
The Jazz Gallery 7:30, 9:30 pm $30-40• Michael Wolff Trio; Anthony Wonsey Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Duo Chuño
Room 31 at Arlo NoMad 7 pmêMiddle East Meditations: Jazz at Lincoln Center Orchestra with guest Naseer Shamma		Rose Theater 8 pm $45-130êImprov Nights—A Tribute to Derek Bailey: John Zorn, Caroline Davis, ImmanuelWilkins, Jim Staley, Amir Elsaffar, Wendy Eisenberg, Arturo O’Farrill, Patricia Brennan,
Henry Fraser, Jorge Roeder, Francisco Mela		Roulette 8 pm $30• Julien Smith Trio
St. Mazie Bar & Supper Club 7:30 pm• Brandon Sanders Quartet
Sistas’ Place 9, 10:30 pm $25
êDavid Weiss Sextet; Stacy Dillard Quartet		
Smalls 7:30, 9, 10:30 pm $25
êAl Foster 80th Birthday Celebration with Chris Potter, Kevin Hays, Vicente Archer				
Smoke 7, 9, 10:30 pm $35-55
êShoko Nagai/Satoshi Takeishi Vortex		Soup & Sound 8 pm
• Shara Luno, Jennifer Choi, Nate Wooley, James Brandon Lewis, Oscar Noriega,
Shahzad Ismaily, Ches Smith
The Stone at The New School 8:30 pm $20
êDavid Murray Quartet with Marta Sánchez, Luke Stewart, Kassa Overall				Village Vanguard 8, 10 pm $40• Pauline Oliveros at 90: Claire Chase, Lisa E. Harris, Susie Ibarra, Alex Peh, Senem Pirler,
Matana Roberts, Tyshawn Sorey and guests IONE, Eduardo Kohn
		
Zankel Hall 9 pm $54

Sunday, January 22• Creole Cookin’ Jazz Band

Arthur’s Tavern 7 pm
Barbès 8 pm $20• Evan Sherman Big Band
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êHouston Person Quintet
Birdland Theater 7, 9:30 pm $30• Rotem Sivan Trio with Hamish Smith, Miguel Russell		Blue Note 12:30, 2:30 pm $25• DJ Logic and Friends with John Popper, Paul Shaffer, James Genus,
Robert “Sput” Searight, Casey Benjamin		Blue Note 8, 10:30 pm $25-35• Ned Goold Trio
Cellar Dog 7 pm $5• David Chamberlain’s Band of Bones
		
Christ and St. Stephen’s Church 3 pm $20
êJJ Johnson Birthday Tribute: Steve Davis Group with Mike DiRubbo, Rick Germanson,
Nat Reeves, Willie Jones III
Dizzy’s Club 5, 7:30 pm $20-45• Alex Minasian Quartet; Neal Miner Trio		The Django 6:30, 9:30 pm• Welf Dorr, Elias Meister, Dmitry Ishenko, Dalius Naujo
		
The Keep 9 pm
• Ashley Pezzotti Trio; Vanisha Gould		
Mezzrow 7:30, 9, 10:30 pm $25• Aimée Allen Trio
North Square Lounge 12:30, 2 pm
• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20• Eve Zanni, Michael Howell, Jennifer Vincent, Violizzy		Saint Peter’s Church 5 pm
• Asaf Yuria Quartet; Aaron Johnson Boplicity
		
Smalls 7:30, 9, 10:30 pm $25
êAl Foster 80th Birthday Celebration with Chris Potter, Kevin Hays, Vicente Archer				
Smoke 7, 9 pm $35-55
êDavid Murray Quartet with Marta Sánchez, Luke Stewart, Kassa Overall				Village Vanguard 8, 10 pm $40
êStéphane WrembelMonday, January 23• Grove Street Stompers

Arthur’s Tavern 7 pmêBrandon Seabrook String Society with Tony Scherr, Kenny Wollesen		
Bar Lunàtico 9, 10:15 pm $10• Paul Jones Quartet
The Belfry 7 pmêRon Carter Quartet with Jimmy Greene, Renee Rosnes, Payton Crossley		Blue Note 8, 10:30 pm $30-45• Vanderlei Pereira Trio
Cellar Dog 7 pm $5• Tatiana Eva-Marie’s Djangology with Gabe Terracciano, Dennis Pol, Wallace Stelzer
		Dizzy’s Club 7:30, 9:30 pm $20-45• Stella Katherine Cole Quartet; Yvonnick Prene Quartet
		
The Django 7:30, 10:30 pm• Spike Wilner Trio; Pasquale Grasso Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Joe Farnsworth Trio; Miki Yamanaka Trio		
Smalls 7:30, 9, 10:30 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40

Tuesday, January 24• Diego Voglino Jam Session

Bar Bayeux 8 pmêMichael Leonhart Brass Band
Bar Lunàtico 9, 10:15 pm $10êJeong Lim Yang Quartet with Mat Maneri, Jacob Sacks, Randy Peterson				Barbès 7 pm $20
êFrank Wess Tribute: Scott Robinson, Michael Weiss, Bill Easley, Steve Turre,
Rufus Reid, Dennis Mackrel
Birdland 7, 9:30 pm $40• Nicole Zuraitis
Birdland Theater 5:30 pm $30
êRon Carter Quartet with Jimmy Greene, Renee Rosnes, Payton Crossley		Blue Note 8, 10:30 pm $30-45• Saul Rubin Trio
Cellar Dog 7 pm $5• Jazz at Lincoln Center Youth Orchestra
		
Dizzy’s Club 7:30, 9:30 pm $20-45
êConrad Herwig Latin Side All-Stars		
The Django 7:30, 9:30 pm• Rob Price Trio; David Aaron’s Flip City with Will McEvoy, David Gould
		
Downtown Music Gallery 6:30 pm• O Bruxo—Hermeto Pascoal: Juilliard Jazz Ensembles
		Juilliard School Paul Hall 7:30 pm $20• Sunlight: Max Light, Kevin Sun, Simón Willson, Steven Crammer
		Lowlands 7:30, 9 pm
• Matt Panayides, Steve LaSpina, Anthony Pinciotti; Tardo Hammer Trio				
Mezzrow 7:30, 9, 10:30 pm $25
êMichael Formanek Drome Trio with Chet Doxas, Vinnie Sperrazza and guest
Angelica Sanchez
Roulette 8 pm $25• Igor Lumpert and Innertextures with Jeff Miles, Chris Tordini, Kenny Grohowski 				
SEEDS 8 pm
• Santi Debriano Quartet; Russell Hall Quartet		
Smalls 7:30, 9, 10:30 pm $25
êBrad Mehldau Quintet with Dayna Stephens, Josh Evans, Christian McBride,
Joe Farnsworth
Village Vanguard 8, 10 pm $40
êDavid Hazeltine Trio with Neal Miner, Pete Van Nostrand
		
Zinc Bar 7, 8:30 pm $30

Wednesday, January 25• Troy Roberts Quartet with Jerome Sabbagh, Hamish Smith, Gary Kerkezou

		Bar Bayeux 8, 9:30 pm• Paul Jones Quartet
The Belfry 7 pmêFrank Wess Tribute: Scott Robinson, Michael Weiss, Bill Easley, Steve Turre,
Rufus Reid, Dennis Mackrel
Birdland 7, 9:30 pm $40
êDavid Ostwald’s Louis Armstrong Eternity Band		
Birdland Theater 5:30 pm $30
êFrank Vignola’s Guitar Night
Birdland Theater 8:30 pm $30• Galactic: Ben Ellman, Robert Mercurio, Stanton Moore, Jeffrey Raines, Richard Vogal
and guest James Carter
Blue Note 8, 10:30 pm $40-55
êSimon Moullier
Café Bohemia 7:30, 9:30, 11 pm $20• Ehud Asherie Trio
Cellar Dog 7 pm $5
êEd Cherry Quartet with Monty Croft, Kyle Koehler, Byron Landham		Dizzy’s Club 7:30, 9:30 pm $20-45• Rachel Z Trio; T.K. Blue Quartet The Django 7:30, 10:30 pm• Russell Hall
The Jazz Gallery 7:30, 9:30 pm $20-30êAyumi Ishito, Daniel Carter, Eric Plaks, Zach Swanson, Jon Panikkar;
Jonathan Goldberger, Eivind Opsvik, Jeff Davis; Stephen Gauci, Adam Lane,
Kevin Shea, Yoni Kretzmer/Juan Pablo Carletti’s Biggish with Thomas Heberer,
Kenny Warren, Christof Knoche, Rick Parker, Kenneth Jimenez, Peter Bitenc;
Dave Sewelson, Chris Cochrane, Brian Chase, Brandon López
		
Main Drag Music 7 pm $20• Bennett Paster, Gary Wang, Tony Mason; David Wong Trio		
Mezzrow 7:30, 9, 10:30 pm $25
êFrank Lacy Quartet with Yayoi Ikawa, Hilliard Greene, Taru Alexander		
New Amsterdam Musical Association NAMA 8 pm
• Peter Brainin and Friends
Room 623 at B2 Harlem 8 pm $15êJoel Ross GroupSEEDS 8 pm
• Dave Pietro Quartet; Benny Benack Quartet		
Smalls 7:30, 9, 10:30 pm $25
êMiles Okazaki/Dan Weiss
The Stone at The New School 8:30 pm $20
êBrad Mehldau Quintet with Dayna Stephens, Josh Evans, Christian McBride,
Joe Farnsworth
Village Vanguard 8, 10 pm $40• Terry Waldo’s Gotham City Band Zinc Bar 8, 9:45 pm• Parker Ramsay/Arnie Tanimoto Zürcher Gallery 8 pm $20

Thursday, January 26êBranford Marsalis Quartet with Joey Calderazzo, Eric Revis, Justin Faulkner		
92Y 7:30 pm $40
êTerry Waldo’s Gotham City Band Arthur’s Tavern 10 pm• Marta Sánchez
Bar Bayeux 5 pm
• Anwar Marshall
Bar Lunàtico 9, 10:15 pm $10• Alex Asher Quartet with Joel Matteo, Julia Chen, Kyle Miles		
Barbès 8 pm $15êFrank Wess Tribute: Scott Robinson, Michael Weiss, Bill Easley, Steve Turre,
Rufus Reid, Dennis Mackrel
Birdland 7, 9:30 pm $40• Galactic: Ben Ellman, Robert Mercurio, Stanton Moore, Jeffrey Raines, Richard Vogal
and guest Robert RandolphBlue Note 8, 10:30 pm $40-55• Café Bohemia All-Stars
Café Bohemia 7:30, 9:30, 11 pm $20• Brandon Lee Quintet; Miki Yamanaka Quartet

		
Cellar Dog 7, 11:30 pm $5êBetween a Smile and a Tear—A Centennial Tribute to Toots Thielemans: Kenny Werner,
Gregoire Maret, Anat Cohen, Chico Pinheiro, Scott Colley, Antonio Sánchez and guests
		Dizzy’s Club 7:30, 9:30 pm $20-45
êJohn Hébert Quartet; Ian Hendrickson-Smith		The Django 7:30, 10:30 pm• Tashi Dorji/Alex Zhang Hungtai; C. Spencer Yeh/Kwami Winfield; Ka Baird		First Unitarian Congregational Society 8 pm $20• Michela Marino Lerman
The Jazz Gallery 7:30, 9:30 pm $20-30êTim Berne Trio with Gregg Belisle-Chi, Tom Rainey		
Lowlands 7:30, 9 pmêPete Malinverni Trio; Raphael D’Lugoff Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Joel Harrison Jazz Orchestra conducted by Erica Seguine;
The New York Virtuoso Singers conducted by Harold Rosenbaum; Alta String Quartet;
Everett Bradley, Nicki Richards, Keith Fluitt. Jon Irabagon, Alan Ferber, Dave Smith,
Stacy Dillard, Joel Harrison
Roulette 8 pm $30
êJoel Ross GroupSEEDS 8 pm
• Manhattan Brass Quintet
Silvana 7 pm
• David Bixler Quintet; David Gibson Quartet		
Smalls 7:30, 9, 10:30 pm $25
êBill Charlap Trio with Peter Washington, Kenny Washington
		
Smoke 7, 9 pm $35-55
êMiles Okazaki, Caroline Davis, Michael Formanek
		The Stone at The New School 8:30 pm $20
êBrad Mehldau Quintet with Dayna Stephens, Josh Evans, Christian McBride,
Joe Farnsworth
Village Vanguard 8, 10 pm $40

Friday, January 27êJohnny O’Neal Trio

Arthur’s Tavern 7 pm
Bar Lunàtico 9, 10:15 pm $10êBill Saxton and The Harlem All-Stars		
Bill’s Place 7, 9 pm $30• Birdland Big Band
Birdland 5:30 pm $30
êFrank Wess Tribute: Scott Robinson, Michael Weiss, Bill Easley, Steve Turre,
Rufus Reid, Dennis Mackrel
Birdland 8:30, 10:30 pm $40
êVince Giordano and The Nighthawks
		Birdland Theater 7, 9:30 pm $30• Galactic: Ben Ellman, Robert Mercurio, Stanton Moore, Jeffrey Raines, Richard Vogal
and guest Robert RandolphBlue Note 8, 10:30 pm $40-55• Rale Micic, Eric Alexander, Ugonna Okegwo; Erena Terakubo		Café Bohemia 7, 10:30 pm $20• Joe Magnarelli Quartet; Matt Martinez Quartet
		
Cellar Dog 7, 11:30 pm $10êBetween a Smile and a Tear—A Centennial Tribute to Toots Thielemans: Kenny Werner,
Gregoire Maret, Anat Cohen, Chico Pinheiro, Scott Colley, Antonio Sánchez and guests
		Dizzy’s Club 7:30, 9:30 pm $20-45
êChampian Fulton Trio; Craig Handy and 2nd Line Smith		The Django 7:30, 10:30 pmêThulani Davis and Wadada Leo Smith		
Harlem Stage Gatehouse 7:30 pm $25-35
êJacob Garchik Group with Caroline Davis		
Ibeam Brooklyn 8:30 pm $15• Immigrantet: Nicola Caminiti, Juan Diego Villalobos, Hamish Smith, Jongkuk Kim
		
The Jazz Gallery 7:30, 9:30 pm $30-40êAaron Parks Trio; John Chin Trio Mezzrow 7:30, 9, 10:30 pm $25• Verena McBee Quartet with Phillip Golub, Zwelkhe Dumas Bell Le-Pere,
Steven Crammer
Pangea 7 pm $25• Jamile; Marcello Pelliteri
Room 623 at B2 Harlem 7, 10 pm $18-25
êBrandon Ross’ Glyph/Sonic: Breath Of Air: Brandon Ross, Charlie Burnham,
Warren Benbow; For Living Lovers: Brandon Ross/Stomu Takeishi; Phantom Station:
Brandon Ross, David Virelles, Hardedge, Eric McPherson, Mauro Refosco				
Roulette 8 pm $30
êEri Yamamoto Trio with David Ambrosio, Ikuo Takeuchi and guests Vince Peterson,
Choral Chameleon
Saint Peter’s Church 7:30 pm $25
êJoel Ross GroupSEEDS 8 pm
• Dave Stryker Trio; Philip Harper Quintet		
Smalls 7:30, 9, 10:30 pm $25
êBill Charlap Trio with Peter Washington, Kenny Washington
		
Smoke 7, 9, 10:30 pm $35-55
êMiles Okazaki, Jon Irabagon, Chris Tordini, Nasheet Waits		
The Stone at The New School 8:30 pm $20
êBrad Mehldau Quintet with Dayna Stephens, Josh Evans, Christian McBride,
Joe Farnsworth
Village Vanguard 8, 10 pm $40• Ben Stivers Organ Trio

Saturday, January 28• Arnan Raz Band

Bar Lunàtico 9, 10:15 pm $10êTim Berne, Gregg Belisle-Chi, Eivind Opsvik, Jeff Davis		
Barbès 6 pm $20
êFrank Wess Tribute: Scott Robinson, Michael Weiss, Bill Easley, Steve Turre,
Rufus Reid, Dennis Mackrel
Birdland 8:30, 10:30 pm $40
êVince Giordano and The Nighthawks
		Birdland Theater 7, 9:30 pm $30• Loren Connors and Alan Licht Blank Forms 7 pm $15• Galactic: Ben Ellman, Robert Mercurio, Stanton Moore, Jeffrey Raines, Richard Vogal
and guest Matisyahu
Blue Note 8, 10:30 pm $40-55
êNicholas Payton
Blue Note 12 am $15• Joe Strasser; Colin Stranahan Café Bohemia 7, 10:30 pm $20
êDarrell Green Quintet; Sarah Hanahan Quartet
		
Cellar Dog 7, 11:30 pm $10êNabaté Isles’ En Motion with Sasha Berliner, David Gilmore, James Francies,
Richie Goods, Terreon Gully and guests MuMu Fresh, Badia Farha
		
City Winery 8 pm $25-45
êBetween a Smile and a Tear—A Centennial Tribute to Toots Thielemans: Kenny Werner,
Gregoire Maret, Anat Cohen, Chico Pinheiro, Scott Colley, Antonio Sánchez and guests
		Dizzy’s Club 7:30, 9:30 pm $20-45• Max Johnson Trio with Neta Raanan, Jason Nazary; Joe Magnarelli Quartet
		
The Django 7:30, 10:30 pmêThulani Davis and Wadada Leo Smith		
Harlem Stage Gatehouse 7:30 pm $25-35
êRajna Swaminathan
The Jazz Gallery 7:30, 9:30 pm $30-40êAaron Parks Trio; Johnny O’Neal Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Noah Garabedian Trio with Glenn Zaleski, Kayvon Gordon

		
Ornithology Jazz Club 9 pm
• Sivan Arbel Group
Room 31 at Arlo NoMad 7 pm
• Michael Evans Tribute: Ben Bennett, Andrew Drury, Fast Forward, Michael Foster,
Shelley Hirsch, Skip LaPlante, Sean Meehan, Kenta Nagai, Dafna Naphtali, Kevin Shea,David Simons, Hans Tammen, Danny Tunick, Lary 7		Roulette 8 pm $30
êJoel Ross GroupSEEDS 8 pm
• Camille Gaynor Jones Group
Sistas’ Place 9, 10:30 pm $25• Dave Stryker Trio; Saul Rubin Zebtet		
Smalls 7:30, 9, 10:30 pm $25
êBill Charlap Trio with Peter Washington, Kenny Washington
		
Smoke 7, 9, 10:30 pm $35-55• Yoko Yates Quintet
Soapbox Gallery 8 pm $25
êTrickster: Miles Okazaki, Matt Mitchell, Anthony Tidd, Sean Rickman
		The Stone at The New School 8:30 pm $20• Sunny Jain’s Wild Wild East
Symphony Space Leonard Nimoy Thalia 7:30 pm $20-30êBrad Mehldau Quintet with Dayna Stephens, Josh Evans, Christian McBride,
Joe Farnsworth
Village Vanguard 8, 10 pm $40• Jonathan Kreisberg
Zinc Bar 7, 8:30 pm $25

Sunday, January 29• Creole Cookin’ Jazz Band

Arthur’s Tavern 7 pmêHarish Raghavan Quartet with Charles Altura, Simon Moullier, JK Kim

		Bar Lunàtico 9, 10:15 pm $10êStéphane Wrembel
Barbès 8 pm $20• Tony Kadleck Big Band
Birdland 5:30 pm $30
êArturo O’Farrill and The Afro Latin Jazz Orchestra		
Birdland 8:30, 10:30 pm $30
êVince Giordano and The Nighthawks
		Birdland Theater 7, 9:30 pm $30• Galactic: Ben Ellman, Robert Mercurio, Stanton Moore, Jeffrey Raines, Richard Vogal
and guest Nicholas Payton
Blue Note 8, 10:30 pm $40-55• Daniel Bennett GroupBlue Note 12:30, 2:30 pm $25• Zaid Nasser Trio
Cellar Dog 7 pm $5êBetween a Smile and a Tear—A Centennial Tribute to Toots Thielemans: Kenny Werner,
Gregoire Maret, Anat Cohen, Chico Pinheiro, Scott Colley, Antonio Sánchez and guests
		Dizzy’s Club 5, 7:30 pm $20-45• Joe Strasser Quartet; Jon Davis Trio		The Django 6:30, 9:30 pm• Teri Roiger, Steve Berger, John Menegon		
Entwine Wine Bar 5 pm
• Welf Dorr, Elias Meister, Dmitry Ishenko, Rodrigo Recabarren
		The Keep 9 pm
• Michael Wolff Trio
Kostabi World 7 pm $40• Harvey Diamond Duo; Jane Irving Jam		
Mezzrow 7:30, 9, 10:30 pm $25
êAlexis Cole Trio
North Square Lounge 12:30, 2 pmêMichael Sarian; Amir ElSaffar
The Owl Music Parlor 8 pm $12• Noam Wiesenberg Quartet
Room 31 at Arlo NoMad 7 pm
• Marcus Goldhaber; Mimi Jones and Friends		
Room 623 at B2 Harlem 6, 8 pm $15-20• Ambivert Trio: Sebastian Noelle, Yaniv Taubenhouse, Ronen Itzik
		Saint Peter’s Church 5 pm
• Charles Owens Quartet; Aaron Johnson Boplicity
		
Smalls 7:30, 9, 10:30 pm $25
êBill Charlap Trio with Peter Washington, Kenny Washington
		
Smoke 7, 9 pm $35-55
êBrad Mehldau Quintet with Dayna Stephens, Josh Evans, Christian McBride,
Joe Farnsworth
Village Vanguard 8, 10 pm $40

Monday, January 30• Grove Street Stompers

Arthur’s Tavern 7 pmêKing Kozy: Michael Blake, Ed Cherry, Allan Mednard, Tony Scherr		
Bar Lunàtico 9, 10:15 pm $10• Paul Jones Quartet
The Belfry 7 pm
• Spike Wilner Trio
Cellar Dog 7 pm $5• Ye Huang Quintet
Dizzy’s Club 7:30, 9:30 pm $20-45• Caelan Cardello Trio; Brian Charette Quintet
		
The Django 7:30, 10:30 pmêAlan Broadbent, Harvie S, Billy Mintz; Pasquale Grasso Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Miki Yamanaka Trio
Smalls 7:30, 9, 10:30 pm $25
êVanguard Jazz Orchestra
Village Vanguard 8, 10 pm $40
êMark Whitfield
Zinc Bar 7, 8:30 pm $25

Tuesday, January 31• Diego Voglino Jam Session
Bar Bayeux 8 pm
• Mike McGinnis Road Trip with Caroline Davis		
Barbès 10 pm $20
êMike Stern
Birdland 7, 9:30 pm $40• Nicole Zuraitis
Birdland Theater 5:30 pm $30• Keyon Harrold/Weedie Braimah with guest Savion Glover		Blue Note 8, 10:30 pm $25-35• Brazilian Grooves
Cellar Dog 7 pm $5êAllison Miller’s Boom Tic Boom with Dayna Stephens, Myra Melford, Scott Colley				Dizzy’s Club 7:30, 9:30 pm $20-45
êConrad Herwig Latin Side All-Stars		
The Django 7:30, 9:30 pmêSandy Ewen/Ravi Coltrane/Michael Vatcher; Johnny Butler/Alex Oliva		
		
Downtown Music Gallery 6:30 pm• Kevin Sun Trio with Walter Stinson, Kayvon Gordon
		
Lowlands 7:30, 9 pm
• Laurence Hobgood Trio; John Merrill Trio		
Mezzrow 7:30, 9, 10:30 pm $25• Abraham Burton Quartet; Jason Clotter Quartet		
Smalls 7:30, 9, 10:30 pm $25• Jon Cowherd Mercy Project with Chris Potter, Steve Cardenas, John Patitucci,
Brian Blade
Village Vanguard 8, 10 pm $40
êTed Rosenthal Trio with Peter Washington, Kenny Washington
		Zinc Bar 7, 8:30 pm $30

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 41

100 MILES OUT
CONNECTICUT
1/4, 1/18 (6:30 pm) Corinthian Jazz Band
1/6, 1/13, 1/20, 1/27 (7 pm) Bill’s Allstar Jazz Band
Bill’s Seafood (Westbrook, CT) www.billsseafood.com

NEW YORK
1/14 (7:30 pm) Leslie Pinthchik Trio with Scott Hardy, Alvester Garnett
1/28 (7:30 pm) Leslie Pintchik Trio with Scott Hardy, Michael Sarin
Alvin & Friends (New Rochelle, NY)
www.alvinandfriendsrestaurant.com

1/4, 1/11, 1/18, 1/25 (7 pm) Hartford Jazz Society presents Black-Eyed
Sally’s Jazz Jam
1/21 (7 pm) Rave Tesar Trio with Sue Williams, Steve Rubin
Black-Eyed Sally’s Southern Kitchen & Bar (Hartford, CT) www.
1/22 (7 pm) Vinnie Cutro Quartet
blackeyedsallys.com
1/23 (7 pm) Jeff Ciampa Trio with Pete Levin, Jeff Siegel
The Cove Castle (Greenwood Lake, NY) www.covecastleny.com
1/9, 1/16, 1/23, 1/30 (7:30 pm) Hartford Jazz Orchestra
Elicit Brewery (Manchester, CT) www.elicitbrewing.com
1/5, 1/12, 1/19, 1/26 (7 pm) Paul Connors Organ Groove
feat. Matt Garrison
1/1, 1/8, 1/15, 1/22, 1/29 (2 pm) Larry Ham, Dave Santoro, Tom Molito
Gilson Café & Cinema (Wilsted, CT) www.gilsoncafecinema.com 1/21 (7:30/8:45 pm) Bright Size Life Project feat. Paul Connors
Elk’s Lodge (Ossining, NY) www.jazzatthelodge.com/shows
1/8 (3 pm) AA Team with Anthony Carillo & Amy Quint-Millan
Hartford Public Library (Hartford, CT)
1/5 (8 pm) Erli Perez
www.hartfordjazzsociety.com
1/12 (8 pm) Tony Jefferson
1/19 (8 pm) Judi Canterino
1/4 (6 pm) David Morgan Trio
1/26 (8 pm) Susan Tobocman
1/11 (6 pm) Jumaane Smith Quartet
First Name Basis at Divino Cucina (Hastings-on-Hudson, NY)
1/18 (6 pm) Jones Factor Litewww.facebook.com/FNBhastingsny
1/25 (6 pm) Arthur Lipner Quartet
La Zingara (Bethel, CT) www.lazingara.com
1/8 (2 pm) Eric Puente Jazz Quartet with Rich Williams,
Dave Kain, Ben Basile
1/1, 1/8, 1/15, 1/22, 1/29 (11 am) Jeff Fuller & Friends
Hendrick Hudson Free Library Lawn (Montrose, NY)
The Lobster Shack (East Haven, CT) www.lobstershackct.com
www.henhudfreelibrary.org
1/4, 1/11, 1/18, 1/25 (9 pm) Hawkins Jazz Collective
Owl Shop (New Haven, CT) www.owlshopcigars.com
1/6-7 (7/9:30 pm) Donald Harrison Quartet
1/8 (4/6 pm) Melissa Stylianou with Gene Bertoncini, Ike Sturm
1/13 (7 pm) Steve Kroon Latin Jazz Sextet
1/13-14 (7/9:30 pm) Joey Alexander Trio
Palace Theater Poli Club (Waterbury, CT)
1/15 (4/6 pm) Klaus Mueller Brazilian Quartet
www.palacetheaterct.org/shows/jazz/
1/20-21 (7/9:30 pm) Mike LeDonne Quintet with Vincent Herring,
Eric Alexander, Dave Stryker
1/22 (2:30 pm) Matana Roberts/Melanie Dyer/Joe Morris
1/22
(4/6
pm)
Jimmy
Madison Group
Real Art Ways (Hartford, CT) www.realartways.org
1/27-28 (7/9:30 pm) Buster Williams & Something More!
1/29 (4/6 pm) Aimée Allen Quartet
1/14 (8:30 pm) Steve Turre Quintet
Jazz Forum Arts (Tarrytown, NY) www.jazzforumarts.org
1/20 (8:30 pm) Jeremy Pelt Quintet
1/21 (8:30 pm) Jerry Bergonzi Quintet
1/5 (8 pm) Charlie Apicella & Iron City Jam
1/27-28 (8:30 pm) Jimmy Greene Quartet
1/6 (8 pm) Kalí Rodriguez-Peña and Melange
The Side Door (Old Lyme, CT) www.thesidedoorjazz.com
1/7 (7/9:30 pm) John Patitucci Brazilian Trio
NEW JERSEY
1/12 (8 pm) Greg Murphy Trio
1/13 (8 pm) G. Thomas Allen 4Tet
1/6 (7:30/9:15 pm) Anthony Nelson, Jr. Quartet
1/14 (7 pm) Naama Gheber Trio
1/13 (7:30/9:15 pm) T.K. Blue and Royal Bluu
1/19 (8 pm) Yvonnick Prené Quartet
1/20 (7:30/9:15 pm) Andrea Brachfeld Insight with Bill O’Connell
1/20 (7/9 pm) Corinne Mammana Trio
1/27 (7:30/9:15 pm) Winard Harper Trio
1/21 (7:30 pm) Kristen Mather De Andrade Quartet
Brothers Smokehouse (Ramsey, NJ)
1/26 (8 pm) John Basile Triowww.brotherssmokehousenj.com
1/27 (7 pm) Peter Slavov Trio
1/28 (7 pm) Conigliaro Consort
1/7 (3:30 pm) Brian Morris
Jazz on Main (Mt. Kisco, NY) www.jazzonmain.com
1/14 (3:30 pm) Charlie Sigler
1/21 (3:30 pm) Dave Schumacher
1/12 (7 pm) Esthesis Quartet: Dawn Clement, Elsa Nilsson,
1/28 (3:30 pm) Webb T
Emma Dayhuff, Tina Raymond
Candlelight Lounge (Trenton, NJ) www.candlelighteventsjazz.com
Jazzstock @ Senate Garage (Kingston, NY) www.jazzstock.com
1/27 (7:30/8:45 pm) T.K. Blue/George Coleman, Jr. “Melba Liston/
Benny Powell Tribute” with Frank Lacy,
1/12 (7 pm) Steve Salerno/Tom ManuelWayne Escoffery, Dave Kikoski, Abasi Akoto
Madiran Wine Bar (East Setauket, NY) www.thejazzloft.org
Clement’s Place (Newark, NJ) www.njpac.org
1/13 (8 pm) Bruce Cox Quartet, (10 pm) Dawn Melody Vocal Jazz Jam
1/21 (7/9 pm) Branford Marsalis Quartet with Joey Calderazzo,
1/14 (8 pm) Aaron Goldberg Trio, (10 pm) David Budway
Eric Revis, Justin Faulkner
Count Basie Center’s The Vogel (Red Bank, NJ) www.thebasie.org 1/27 (8 pm) Jason Clotter Group
1/28 (8 pm) Duane Eubanks Quartet, (10 pm) David Budway
Maureen’s Jazz Cellar (Nyack, NY) www.maureensjazzcellar.com
1/7 (6 pm) Joe Locke
New Jersey Performing Arts Center @Bethany Baptist Church
1/20 (9 pm) Jazz on the Mountain: “Tribute to Duke” with
(Newark, NJ) www.njpac.org
Lucy Yeghiazaryan, Wayne Tucker, Pete Malinverni,
Ugonna Okegwo, Aaron Seeber
1/29 (3/7 pm) Fred Hersch/Esperanza Spalding
1/21 (10:30 am/3 pm/9 pm) Jazz on the Mountain: SUNY Purchase
New Jersey Performing Arts Center @Victoria Theater(Newark, NJ) www.njpac.org
Jazz Studies Department; Pete Malinverni Trio with
Ugonna Okegwo, Aaron Seeber; The Jazz Sphinx
1/3 (7/8:30 pm) Tristan Voitcu Quartet“Music of Monk” with Julie Kurtzman, Ralph Lalama,
1/5 (7/8:30 pm) Kate Curran Quartet
Pete Malinverni, Ugonna Okegwo, Aaron Seeber
1/10 (7:/8:30 pm) Caleb Eckstein Quartet
1/22 (10:30 am/11:30 am/9 pm) Jazz on the Mountain:
1/12 (7/8:45 pm) Nick Hempton Quartet with Kyle Koehler, Jason
Sage Myers with Pete Malinverni; Michael Bourne
Tiemann, Dave Blenkhorn
Memorial Concert; Ricky Riccardi; Tadd Dameron Tribute
1/17 (7/8:30 pm) Ariana Sowa Quartet
with Gary Smulyan, Scott Robinson, Anaïs Reno,
1/19 (7/8:45 pm) Behn Gillece Quartet
Pete Malinverni, David Wong, Matt Wilson
1/24 (7/8:30 pm) Jacob Hurlock Quartet
1/23 (10:30 am) Jazz on the Mountain: Scott Robinson with
1/26 (7/8:45 pm) Joe Magnarelli Quartet
Helen Sung, Martin Wind
1/31 (7/8:30 pm) Jem Seidel
Tavern on George (New Brunswick, NJ) www.tavernongeorge.com Mohonk Mountain House (New Paltz, NY) www.mohonk.com

42 JANUARY 2023 | THE NEW YORK CITY JAZZ RECORD

1/14 (8 pm) Steve Williams/Bill Ware Quartet with
Steve Einerson, John Menegon
The Open Space (Greenwood Lake, NY)
www.jpmpinc.org/SteveWilliamsBillWareQuartet/
1/7, 1/14, 1/21, 1/28 (3 pm) Hal Galper Trio
Rafter’s Tavern (Callicoon, NY) www.rafterstavern.com
1/28 (7 pm) Tashi Dorji, Bore, Center: Stefan Christensen,
Ian McColm, David Shapiro
Tubby’s (Kingston, NY) www.tubbyskingston.com
1/9, 1/16, 1/23, 1/30 (8pm)
Monday Jazz Sessions with John RichmondTurning Point Café (Piermont, NY) www.piermont.club
1/7 (6 pm) John Basile Trio
1/14 (6 pm) Howard Britz Trio
1/21 (6 pm) Wali Ali
1/28 (6 pm) Sounds of A&R with April May Webb, Randall Haywood
Bean Runner Café (Peekskill, NY) www.beanrunnercafe.com
PENNSYLVANIA
1/3 (8/9:30 pm) Clifford Morin & Friends
1/4 (8/9:30 pm) Mogi Taylor Quintet
1/6-7 (8/10 pm) Chris’ Jazz Café Allstars with Victor North,
Joseph Block, Alex Claffy, Anwar Marshall,
Aiden McKeon
1/10 (8/9:30 pm) Bianca Love with Lawrence Fields,
Richard Hill, Jr., Khary Abdul-Shaheed
1/11 (8/9:30 pm) Debbie Poryes New Philly Trio with
Dave Brodie, Kyle Andrews
1/13 (8/10 pm) Cyrus Chestnut Trio
1/14 (8/10 pm) Gary Smulyan Quintet with Pete Malinverni,David Wong, Matt Wilson, Anaïs Reno
1/17 (8/9:30 pm) Chris Oatts Quintet with Joe Anderson,
Tim Brey, Sam Harris, Donovan Pope
1/20 (8/10 pm) Jonathan Michel Trio with Joel Ross, Jeremy Dutton
1/21 (8/10 pm) Jonathan Michel Quintet with
Jeremy Dutton, Joe Block, Joel Ross, Tahira Clayton
1/24 (8/9:30 pm) Matt Kahn Septet
1/27-28 (8/10 pm) Simon Moullier/Nicole Glover Quartet
1/31 (8/9:30 pm) Norman David Combo Theory
Chris’ Jazz Café (Philadephia, PA) www.chrisjazzcafe.com
1/21 (7:30 pm) Orrin Evans
Clef Club (Philadephia, PA) www.clefclubofjazz.org
1/8 (2 pm) Tri-State Jazz Society presents:
Rivertown Vintage Jazz Band
Community Arts Center (Wallingford, PA)
www.communityartscenter.org
1/22 (7 pm) Jazz at Lincoln Center Orchestra with Wynton Marsalis +guest Naseer Shamma
Kimmel Center @Academy of Music (Philadelphia, PA)
www.kimmelculturalcampus.org
1/4 (11 am) Bell Thompson Group
Kimmel Center Commonwealth Plaza Stage (Philadelphia, PA)
www.kimmelculturalcampus.org
1/9, 1/16, 1/23, 1/30 (5:30-9:30 pm) Tony Williams Jazz Quartet
La Rose Jazz Club (Philadelphia, PA) www.jazzclublarose.com
1/6 (8 pm) Steve Gunn/John Truscinski
1/7 (8 pm) Steve Gunn/John Truscinski with Bill Nace
1/12 (8 pm) Orrin Evans Quartet with Gary Thomas, Robert Hurst,
Marvin “Smitty” Smith
Solar Myth (Philadelphia, PA) www.arsnovaworkshop.org
1/7 (8 pm) Reggie Harris Quintet with Kym Still
1/8 (8 pm) Raimundo Santos with Harry “Butch” Reed, Steve Beskrone
1/14-15 (8 pm) Warren Cooper/Nasir Dickerson
1/19-20 (8 pm) Art Sherrod
1/26 (8 pm) Jacob Webb
1/27-29 (8 pm) Allan Harris
South Jazz Club (Philadelphia, PA) www.southjazzkitchen.com
1/12 (8:30 pm) Jaron Marshall Jazz Jam
World Café (Philadelphia, PA) www.worldcafelive.com

CLU B DI RE CTORY• 333 Lounge 333 Flatbush Avenue(718-399-8008) Subway: B, Q to Seventh Avenue
www.333lounge.com• 411 Kent 411 Kent Avenue
Subway: J, M, Z to Marcy Avenue
www.411kent.org• 440Gallery 440 Sixth Avenue, Brooklyn(718-499-3844) Subway: F, G to Seventh Avenue www.440gallery.com• 54 Below 254 W. 54th Street(646-476-3551) Subway: N, Q, R to 57th Street; B, D, E to Seventh Avenue
www.54below.com• 92nd Street Y Lexington Avenue at 92nd Street(212-415-5500) Subway: 6 to 96th Street
www.92y.org• Arthur’s Tavern 57 Grove Street(212-675-6879) Subway: 1 to Christopher Street
www.arthurstavern.nyc• Asia Society 725 Park Avenue(212-288-6400) Subway: 6 to 68th Street
www.asiasociety.org• Baby’s All Right 146 Broadway, Brooklyn(718-599-5800) Subway: J, M, Z to Marcy Avenue
www.babysallright.com• BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn(718-636-4139) Subway: M, N, R, W to Pacific Street;
Q, 1, 2, 4, 5 to Atlantic Avenue
www.bam.org• Bar Bayeux 1066 Nostrand Avenue(347-533-7845) Subway: 2, 5 to Sterling Street
www.barbayeux.com• Bar Lunàtico 486 Halsey Street(917-495-9473) Subway: C to Kingston-Throop Avenues
www.barlunatico.com• Barbès 376 9th Street at 6th Avenue, Brooklyn(718-965-9177) Subway: F to 7th Avenue
www.barbesbrooklyn.com• The Belfry 222 E. 14th Street(212-473-6590) Subway: L to Third Avenue
www.belfrynyc.com• Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues)(212-281-0777) Subway: 2, 3 to 135th Street• Birdland and Birdland Theater 315 W. 44th Street(212-581-3080) Subway: A, C, E, to 42nd Street
www.birdlandjazz.com• The Bitter End 147 Bleecker Street between Thompson and LaGuardia 		
Subway: A, B, C, D, E, F, V to W. 4th Street www.bitterend.com• Blank Forms 468 Grand Avenue, 1D
Subway: C to Clinton-Washington Avenues
www.blankforms.org• Blue Note 131 W. 3rd Street at 6th Avenue(212-475-8592) Subway: A, B, C, D, E, F to W. 4th Street
www.bluenotejazz.com• Brooklyn Bowl 61 Wythe Avenue(718-963-3369) Subway: L to Bedford Avenue
www.brooklynbowl.com• Café Bohemia 15 Barrow Street
Subway: 1 to Christopher Street www.
www.facebook.com/cafebohemianyc/• Cellar Dog 75 Christopher Street at 7th Avenue(212-675-6056) Subway: 1 to Christopher Street
www.cellardog.net• Chelsea Table & Stage Hilton Fashion District Hotel, 152 W. 26th Street
Subway: C, E to 23rd Street; R, W to 28th Street
www.chelseatableandstage.com• Christ and St. Stephen’s Church
120 W. 69th Street Subway: 1, 2, 3 to 72nd Street• City Winery 25 11th Avenue (at 15th Street)(646-751-6033) Subway: A, C, E to 14th Street
www.citywinery.com• Church Street School For Music and Art 41 White Street(212-571-7290) Subway: 1, 2 to Franklin Street
www.churchstreetschool.org• Club Curious Conselyea Street at Lorimer Street
Subway: L to Lorimer Street• Culture Lab LIC 5-25 46th Avenue, Long Island City
(347-848-0030) Subway: 7 to Vernon Boulevard/Jackson Avenue
www.culturelablic.org• The Cutting Room 44 E. 32nd Street(212-691-1900) Subway: 6 to 33rd Street
www.thecuttingroomnyc.com• David Rubenstein Atrium Broadway at 60th Street(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.lincolncenter.org/venue/atrium• Dizzy’s Club 33 W. 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• The Django 2 Sixth Avenue(212-519-6600) Subway: A, C, E to Canal Street; 1 to Franklin Street
www.thedjangonyc.com• Downtown Music Gallery 13 Monroe Street(212-473-0043) Subway: F to East Broadway
www.downtownmusicgallery.com• Drom 85 Avenue A(212-777-1157) Subway: F to Second Avenue
www.dromnyc.com• Entwine Wine Bar 765 Washington Street(212-727-8765) Subway: 1, 2, 3, A, C, E, L to 14th Street
www.entwinenyc.com• First Unitarian Congregational Society 119 Pierrepont Street, Brooklyn(718-624-5466) Subway: M, R to Court Street
www.fuub.org• Gene Frankel Theater 24 Bond Street(212-777-1767) Subway: 6 to Bleecker Street
www.genefrankeltheatre.com• Harlem Stage Gatehouse 150 Convent Avenue at W. 135th Street(212-650-7100) Subway: 1 to 137th Street
www.harlemstage.org• Ibeam Brooklyn 168 7th Street between Second and Third Avenues
Subway: F to 4th Avenue
www.ibeambrooklyn.com• Interchurch Center 475 Riverside Drive at 120th Street
Subway: 1 to 116th Street• Jamaica Center for Arts and Learning 161-04 Jamaica Avenue, Queens(718-658-7400 ext. 152) Subway: E to Jamaica Center
www.jcal.org• The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063)
Subway: N, R to 28th Street
www.jazzgallery.org• Jazz Museum in Harlem 58 W. 129th Street between Madison and Lenox(212-348-8300) Subway: 6 to 125th Street
www.jmih.org• Joe’s Pub at the Public Theater 425 Lafayette Street(212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place
www.joespub.com• Juilliard School Paul Hall 155 W. 65th Street(212-769-7406) Subway: 1 to 66th Street
www.juilliard.edu• Juilliard School Peter Jay Sharp Theater 155 W. 65th Street(212-769-7406) Subway: 1 to 66th Street www.juilliard.edu• The Keep 205 Cypress Avenue, Queens(718-381-0400) Subway: L to Jefferson Street
www.thekeepny.com• Klavierhaus 790 11th Avenue(212-245-4535) Subway: 1, 2, A, B, C, D to 59th Street-Columbus Circle
www.klavierhaus.com• Knickerbocker Bar & Grill 33 University Place at 9th Street(212-228-8490) Subway: N, R to 8th Street-NYU
www.knickerbockerbarandgrill.com• Kostabi World 225 W. 22nd Street
Subway: C, E to 23rd Street• Kupferberg Center 65-30 Kissena Boulevard, Flushing(718-793-8080) Subway: E to 71 - Continental Avs - Forest Hills
www.kupferbergcenter.org• Le Poisson Rouge 158 Bleecker Street(212-228-4854) Subway: A, B, C, D, E, F, V to W. 4th Street
www.lepoissonrouge.com• Loove Labs 58 N. 6th Street, Brooklyn(718-388-3244) Subway: L to Bedford Avenue
www.theloove.com• Lowlands 543 Third Avenue, Brooklyn(347-463-9458) Subway: R to Prospect Avenue
www.lowlandsbar.com• Main Drag Music 50 S. 1st Street between Kent and Wythe Avenues(718-388-6365) Subway: L to Bedford Avenue www.maindragmusic.com• Mezzrow 163 W. 10th Street(646-476-4346) Subway: 1 to Christopher Street
www.smallslive.com• Minton’s 206 W. 118th Street(212-243-2222) Subway: B, C to 116th Street
www.mintonsharlem.com• National Sawdust 80 N. 6th Street(646-779-8455 Subway: L to Bedford Avenue
www.nationalsawdust.org• New Amsterdam Musical Association (NAMA) 107 W. 130th Street(212-234-2973) Subway: 2, 3 to 125th Street• North Square Lounge 103 Waverly Place at McDougal Street(212-254-1200) Subway: A, B, C, E, F, V to West 4th Street
www.northsquareny.com/about-jazz.php• Nublu 151 151 Avenue C
Subway: L to First Avenue
www.nublu.net• The Opera House
288 Berry Street Subway: L to Bedford Avenue• Ornithology Jazz Club 6 Suydam Street, Brooklyn(917-231-4766) Subway: J, M, Z to Myrtle Avenue
www.ornithologyjazzclub.com• Outpost 1014 Fulton Street
Subway: C to Clinton Avenue• The Owl Music Parlor 497 Rogers Avenue, Brooklyn(718-774-0042) Subway: 2, to to Sterling Street
www.theowl.nyc• Pangea 178 Second Avenue(212-995-0900) Subway: L to First Avenue
www.pangeanyc.com• The Porch 750A St. Nicholas Avenue(646-895-9004) Subway: A, B, C, D to 145th Street
www.theporchnyc.com• Public Records 233 Butler Street
Subway: 2, 3, 4, 5, B, D, N, Q, R to Atlantic Avenue
www.publicrecords.nyc• Rizzoli Bookstore 1133 Broadway(212-759-2424) Subway: R, W to 28th Street
www.rizzolibookstore.com• Room 31 at Arlo NoMad 11 E. 31st Street(212-806-7000) Subway: 6 to 33rd Street www.arlohotels.com/nomad• Room 623 at B2 Harlem 271 W. 119th Street(212-280-2248) Subway: B, C to 116th Street
www.room623.com• Rose Theater Broadway at 60th Street, 5th floor(212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle
www.jazz.org• Roulette 509 Atlantic Avenue(212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue
www.roulette.org• St. Mazie Bar & Supper Club 345 Grand Street, Brooklyn(718-384-4808) Subway: G to Metropolitan Avenue; J, M, Z to Marcy Avenue
www.stmazie.com• Saint Peter’s Church 619 Lexington Avenue at 54th Street(212-935-2200) Subway: 6 to 51st Street
www.saintpeters.org• SEEDS 617 Vanderbilt Avenue
Subway: 2, 3, 4 to Grand Army Plaza
www.seedsbrooklyn.org• Silvana 300 W. 116th Street(646-692-4935) Subway: B, C, to 116th Street
www.silvana-nyc.com• Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn(718-398-1766) Subway: A to Nostrand Avenue
www.sistasplace.org• Smalls 183 W 10th Street at Seventh Avenue (212-252-5091)
Subway: 1 to Christopher Street
www.smallsjazzclub.com• Smoke 2751 Broadway between 105th and 106th Streets(212-864-6662) Subway: 1 to 103rd Street
www.smokejazz.com• Soapbox Gallery 636 Dean Street
Subway: 2, 3 to Bergen Street www.soapboxgallery.org• Sony Hall 235 W. 46th Street(212-997-5123) Subway: N, R, W to 49th Street
www.sonyhall.com• Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Avenues)
Subway: 2 to Sterling Street• The Stone at The New School 55 W. 13th Street(212-229-5600) Subway: F, V to 14th Street
www.thestonenyc.com• Superior Ingredients 74 Wythe Avenue
Subway: G to Nassau Avenue
www.si-bk.com• Swing 46 349 W. 46th Street(646-322-4051) Subway: A, C, E to 42nd Street
www.swing46.com• Symphony Space Leonard Nimoy Thalia 2537 Broadway at 95th Street(212-864-5400) Subway: 1, 2, 3 to 96th Street
www.symphonyspace.org• Town Hall 123 W. 43rd Street(212-997-1003) Subway: 7, B, D, F, M to 42nd Street-Bryant Park
www.thetownhall.org• Village Vanguard 178 Seventh Avenue South at 11th Street(212-255-4037) Subway: 1, 2, 3 to 14th Street
www.villagevanguard.com• Westbeth Artists Complex 55 Bethune Street(212-691-1500) Subway: 1, 2, 3 to 14th Street• Westside Comedy Club 201 W. 75th Street(646-973-1300) Subway: 1, 2, 3 to 72nd Street
www.westsidecomedyclub.com• Zankel Hall 881 Seventh Avenue at 57th Street(212-247-7800) Subway: N, Q, R, W to 57th Street
www.carnegiehall.org• Zinc Bar 82 W. 3rd Street(212-477-8337) Subway: A, B, C, D, E, F to W. 4th Street
www.zincjazz.com• Zürcher Gallery 33 Bleecker Street(212-777-0790) Subway: 6 to Bleeker Street;
B, D, F to Broadway-Lafayettewww.galeriezurcher.com

THE NEW YORK CITY JAZZ RECORD | JANUARY 2023 43

PARIS JAZZ CLUB& TSF JAZZPRESENTJANUARY 12

LE POISSON ROUGE
158 BLEECKER ST, NEW YORKNICOLE GLOVER
7:45 PM EMILE PARISIEN "LOUISE"
9:00 PM AVISHAI COHEN 4TET
10:30 PM VINCENT PEIRANI "JOKERS"
7:00 PMTHE FINEST OF THE FRENCH
JAZZ SCENE, HERE IN NYC.

JANUARY 13

BITTER END

147 BLEECKER ST, NEW YORKABRAHAM REUNION
7:45 PM PARIS JAZZ SESSIONFEAT JEANNE MICHARD
8:45 PM YESSAÏ KARAPETIAN
9:45 PM BADA BADA
10:45 PM ISHKERO
11:45 PM TISS +6:45 PMJANUARY 14

ZINC BAR

82 W 3RD ST, NEW YORKABRAHAM REUNION
9:00 PM PARIS JAZZ SESSIONFEAT JEANNE MICHARD
10:00 PM YESSAÏ KARAPETIAN
8:00 PMJANUARY 16

SMALLS JAZZ CLUB183 W 10TH ST, NEW YORKABRAHAM REUNION
8:45 PM PARIS JAZZ SESSIONFEAT JEANNE MICHARD
10:00 PM YESSAÏ KARAPETIAN
11:15 PM AUXANE CARTIGNY TRIO
7:30 PM#FRENCHQUARTER
WWW.PARISJAZZCLUB.NET

4 NIGHTS
4 CLUBS20 SHOWCASES
40 ARTISTS